Discography (2010-)

My primary medium has always been records and recording, which has led to the production of many records of differing styles and quality levels (quality of performance, writing, recording/mixing quality, and so on). A lot of people (friends, colleagues, label and mgmt folks, strangers at gigs, in the supermarket) have found the size and disorder of my discography incoherent and off-putting. This page is an ongoing effort to try and organise it.

click to enlarge (last updated 12/05/23)

The clearest starting point for me is an album called ‘Bowler Hat Soup’ and I've tried to demonstrate that every subsequent record develops from that in a set of tangible, interconnecting strands. Before the beginning of this record (pre-June 2010) there are a dozen or so online-only releases, very shaky electronic records made to share with friends on last.fm: first imitations of Brian Eno and earlier tape music composers (specifically Cage & Stockhausen) who I discovered through my brother and my piano teacher Nicholas Wright, and later Boards of Canada worship, interspersed w GY!BE and Mothers of Invention imitations. I was unfortunately a massive nerd at 14 so all of these records were released under my own name and catalogued fastidiously on Discogs and Rateyourmusic, where these very mediocre recordings continue to sit cluttering the place up and making me look weird and shit. I regret this and wish I could take them down or recategorise them because they’re not really ‘albums’ in the proper sense... and there are quite a few other digital-only releases from after 2010 (poor live recordings, records released under pseudonyms, lousy EPs of outtakes) which I haven't included here either because I don't think they're very good, or because they don't really fit in or develop what came before them.

I recognise the use of strands is a little ridiculous, but this is how I understand my 'body of work' and it's the best tool I've come up with to regulate and articulate my output for myself and for other people, so please indulge me! Re. the definitions of 'fixed' and 'unfixed' strands: I call them 'fixed' records if their structure was mapped out either before or during the earliest stages of writing/recording any material, and so the nature of the songs are strongly influenced by this wider framework. 'Unfixed' means that the shape of the record came after the recordings were done, or towards the end of recording, or if the shape came from playing the material live, which I've found gives both the individual songs/pieces and the wider record a much different aspect.

Throughout the texts below I've included some links to other webpages which provide further context to the records. This is an ongoing writing project which is like a scrapbook or a journal about my life from June 2010 onwards, and some other bits of fiction or writing about music. There is not a lot of it yet. Hopefully there are no dead ends.

Lastly, I've uploaded a chronological discography here.

Strands (click):

Fixed (Initial) Strand - smash hit music
Fixed (Commission) Strand - bowtie music
Fifth (Fixed and Unfixed) Strand - not-sure music
Unfixed (Performed) Strand - live rock music
Unfixed (Subsequent) Strand - work-in-progress music

Fixed (Initial) Strand LPs

These are records which were my main focus during their production, and which I think follow on from one another stylistically in a clear line. They were all released by a record label and had press and radio play and things like that. These are all attempts at 'proper records' with an emphasis on structure and (for better or worse) trying to push myself and be as stylistically broad and developed as I could be; they are mostly quite maximalist (or additive, as opposed to 'subtractive'). I think you hear a path of development by listening to the three F(I)S records in chronological order, or by alternating between the F(I)S and U(S)S records.

Bowler Hat Soup (2010-11; 2013)

Written and recorded June 2010-November 2011, in more or less chronological order. First released (muddy self-mix) on Bandcamp in January 2012; later released in November 2013 on 2LP and CD by Hand of Glory Records, having been re-mixed and re-mastered by my older brother Max following an accident. Front cover by Kelly Adams.


Dear Lincoln
Brunswick Street
Whisky Bath
Sea of Eyes
Smilin' Morn
Wild Walks
There's No Future In Us
Oakland Highball
Bora Bora
The Battle of Hoopla Bay
Geraldo's Farm
Hoopla Reprise
A Purpose

Amanda Barrass - violin (2, 7)
Harriet Braithwaite - voice (15)
Seth Livingstone - euphonium (6-8, 10, 12)
Benedict O'Hara - voice (10)


Grapefruit (2012-14; 2016)

Guitar and chamber music written and recorded throughout the North-West (Saddleworth, Greenhead College music room; Oldham Music Centre; St. Paul's Church, Withington) 2012-2014. Released in April 2016, the first of three LPs released by Moshi Moshi (four if you count a one-sided 12" single of the full version of 'Pink Fruit'). Max mixed and mastered again and Kelly did the artwork.

Secret Police
Pink Fruit
Öndör Gongor
Caiaphas in Fetters
Don't Make Friends With Good People
Exeter Services
Half-Ruined Already

Cassia String Quartet (1, 4, 5, 8):
Amy Welch - violin
Tory Clarke - violin
Laurie Dempsey - viola
Joshua Lynch - cello
Sam Barber - trombone (1, 2, 8)
Hélène Bradley - voice (1, 2)
Tom Broadbent - viola (2)
Hattie Coombe - voice (3, 8)
Mary Epworth - voice (1, 2)
Mackenzie Keefe - voice (2, 6)
John O'Brien - voice (2)
Jamie Philokyprou - violin (2)
Simon Prince - alto saxophone (8)
Andy Proudfoot - voice (3, 8)
Freya Smith - oboe (2, 5)
Will Twynham - voice (1, 2)
Cameron Woodhead - clarinet, alto sax (2)


Western Culture (2016-17; 2018)

Sole studio recording of the second ('Dispatch') group, and only album in F(I)S made in a studio. The second of two LPs made at Low Four in Salford w/ Brendan and Jamie. Released by Moshi Moshi; Kelly did the artwork again, and Jamie and Brendan mixed and mastered the record with Max. I think the record is good but a bit rushed and overblown. You shouldn't stuff too many leaden opinions into songs else they sink. I wrote a pamphlet of essays (never released) to expand on what I thought the record was about; the fact I thought that was necessary at all should have set alarm bells off. It's good though I think and changed the way I write and work a lot for the better.


The Universe Out There Knows No Smile
Paralysed Force
Working People
An Easel
Legacy of Neglect
Now Then
Unreflective Life
Shuddering Instance
Exactitude and Science

Dan Bridgwood-Hill - electric guitar, piano, synthesiser
Andrew Cheetham - drums, percussion
Dave Rowe - bass guitar

Jon Collin - electric guitar (3)
Jenny Hollingworth - voice (5)
Laurie Hulme - voice (1, 2, 5)
Greg Morton - cello (2, 4, 5, 9)
Kath Ord - viola (2, 4, 5, 9)
Prabjote Osahn - violin (2, 4, 5, 9)
Leo Robinson - voice (1, 5, 6, 9)
Elin Rossiter - voice (1, 5, 6, 9)
Rosa Walton - voice (5)


Other F(I)S records (unreleased):
-Real Home (9 songs, 40 minutes. Recorded and mixed 2022)

Fixed (Commission) Strand

These are records which were developed as the result of commissions from other people -- i.e., their production was instigated by someone else and they followed creative and practical parameters separate from the F(I) strand. For this reason, they ended up having free-standing conceptual frameworks and don't follow on directly from other things:

Derevaun Seraun (2014; 2016-17)

Commissioned by Everything Everything during their 2014 Chaos to Order residency, which took place in Manchester Central Library to commemorate its reopening after some years of refurbishment. Five songs for voice, piano and string trio recorded at Low Four Studio in August 2016 by Brendan Williams and released in September 2017 on LP and CD by Moshi Moshi. The songs are about books I like and their thematic relevance to the library as a social resource.

Could She Still Draw Back?
Living With Your Ailments
A Particle of Flesh Refuses the Consummation of Death
The Mute Wide-Open Eye of All Things
The Cure for Pneumothorax

Prabjote Osahn - violin
Adam Robinson - viola
Greg Morton - cello


Monarchs of the Crescent Pail (2017-18)

An invitation to make a solo guitar record from Very Bon, co-released on cassette with Comfortable on a Tightrope. Improvised tunings & a couple of songs for acoustic guitars. Recorded in Oxford and Greater Manchester. Sold out.

Other F(C)S records (unreleased):
-Song of the Husband (commissioned by the Lye Planet Research Unit; for two voices, two acoustic guitars, clarinet, cello, violin, percussion; 2017; rev. & rec. 2019, abandoned; re-rev. & re-rec. 2020-21)

Fifth (Fixed and Unfixed) Strand

I don't know what this strand is yet. There is just one record in it so far. Themes which will probably develop within it: home recording; clear, subtractive textures (where the F(I)S records are usually additive, overwrought); more involved electronics; simpler songs, or greater abstraction or both.

Trespass on Foot (2016-19; 2021)

A mostly 'fixed' record in two halves -- the First part is me alone (electric guitars, voice, sound collage), and second part is mostly acoustic and has other singers, violins, cellos and double basses, clarinets. Began as a U(S)S record and then grew in size (full album is just shy of two hours). Mixed and mastered by Maelin Brown; self-released on double cassette and double CD with help from Ina Tatarko.

The Ship
Sights Past
Heartbeat (C. Cohen)
Two Lost Discoverers Only Boys
Transgression Without Strength

Third Day of February
Seam Song
Old Threat Tale
Body of Worry
Promontory of Unmoving Nights
What Dust Is

Dan Bridgwood-Hill - violin (7, 10, 12, 15, 16)
Hannah Hever - bass clarinet (9, 10, 15, 16)
Jasper Llewellyn - voice (7, 12, 16)
Margo Munro Kerr - clarinet (9, 10, 15, 16); voice (7, 10, 12, 13, 16)
Jolliff Seville - voice (6, 10, 12, 13, 16)
Francesca Ter-Berg - cello (10, 12, 13, 16)
Isabelle Thorn - voice (7, 12, 16)
Otto Willberg - double bass (9, 13)

listen/buy tapes

Unfixed (Performed) Strand

Solo and group live recordings, or overdubbed recreations of live recordings, the dynamics of which were worked out during public live performance. I say this as opposed to F(I)S/F(C)S records which feature live groups, because in those instances the groups rehearsed arrangements together for the fixed purpose of a record. The arrangements of the material in this strand were intended for, and evolved through, live performance, and this process dictated the structures of the records rather than the other way round.

Spring Rounds (2014)

Tour-only CD-R of live recordings with second [Dispatch] group; re-arrangements of material from Bowler Hat Soup, recorded March-April 2014, mostly made on Zoom handheld portable recorders, and released in July of that year. Also some home recordings and turntable music. Sound quality not great. There is a better recording of this group (see below). Sold out

A Bit of Violence With These Old Engines (2016-18)

Improvisation & songs for acoustic and electric guitars, most of it done live. Recorded in Saddleworth, Oxford, Lisbon and Amposta, released by Boira Discos. Sold out

World Argument Live (2016; 2018; 2020)

Mostly taken from a 2018 set at the Hug & Pint in Glasgow, from this band's last tour, plus alternate versions of songs from Western Culture F(I)S LP. My personal favourite recordings of this line-up. The goal of the group from the beginning -- a more-or-less straightforward guitar/bass/drums quartet formed in 2014 to play music from Bowler Hat Soup, which regularly has a dozen or so instruments going on at once and hardly any electric guitar -- was to simplify the shambling chambery pretenses of the F(I)S records into something heavier and more coherent, and in the process reinvent and revive material that was nearly four old by the time it had got to be released and toured. That was always how it worked, which allowed the group to develop independently of what was going on in the F(I) strand. I loved playing in this group a lot; we were very good and I wish we had played more widely. Self-released (digital only) on Bandcamp.


Dan Bridgwood-Hill - violin, electric guitar, synthesiser
Andrew Cheetham - drums
Dave Rowe - bass


River Holds Peace, Some Live (2022-23)

Chamber group of three electric guitars (two of which were high-strung guitars), cittern and double bass (plus two voices), which played scored rearrangements mostly of material from Trespass on Foot. The group was an attempt to span the gap between the two halves of that long collage record -- the loud, amplified and myopic disc one versus the sparse, acoustic and collaborative disc two -- but instead of settling for a neither-one-nor-the-other midpoint the scoring tried to give the pieces a third aspect / adding a denseness you can draw on when each note can be positioned precisely. In fact there were points where it got a bit much (not to mention the nightmare of keeping 32 strings in tune in a humid basement) and I think both myself and the rest of the group developed a desire for more open-ended, loose style of arrangement/playing that I'm hoping to pursue in the next group. I collected as many deskboard recordings as I could of this group, but most of this album was tracked very minutely across different houses in the south of England, so we could preserve the parts as accurately as possible. Track 1 and the end of track 6 were recorded at Crofters Rights in Bristol. The group played 11 other times between Summer 2021 and late 2022.


Ben Beauvallet - cover photograph
Maelin Brown - stem mastering
Daniel S. Evans - high-strung electric guitar
Mike O'Malley - cittern
Callum Plowright - high-strung electric guitar (1, 6)
Isabelle Thorn - voice, high-strung electric guitar
Otto Willberg - bowed double bass

Released on cassette with a 7" lathe single of BO/W by Them There Records of Preston. Thank you Carl!


Unfixed (Subsequent) Strand

Compilations of loose tracks recorded between F(I)S records -- scrappy overdubbed recordings made mostly on my own. Originally, the songs in this strand were released on digital EPs or tour-only CD-Rs of variable quality, which I retconned into the two records here to act as minor deviations from, or small bridges between, the F(I)S records.

Adolescence of Prog (2011-14)

Experiments in song structure and computer music from between the making of Bowler Hat Soup and Grapefruit F(I)S LPs, and during the writing and recording of Grapefruit. Quality of the material is a bit fast and loose but I think it makes the jump between the two LPs more tangible. Compiled in 2019 after a Bandcamp clearout.

Huygens Probe
Jenny Jenny
John Justice
Hoopla Reprise (Akrotiri Poacher Remix)
the End Times


Abandoning Noble Goals (2015-16)

Originally a standalone EP of songs about honesty released in August 2015; retconned into a U(S)S album in 2022 to pick up other good material recorded a few months after, between the making of Grapefruit and Western Culture F(I)S LPs, and either not released at all or no longer available after (another) Bandcamp clearout. This is partly my Hank Williams album for my dad and partly for DJ and the genuine adolescents.

For HW, DJ and the genuine adolescents!

Second Year
Cracked Globe
Working People
Os Dias do Hospedeiro
Visions of Worthless Shortcomings
After the Rain Came In