Around 1983 I started experimenting with electronics and tape, utilising a crude home-made mixer and electronics devices.  Spurred on by the industrial/electronic scene in Melbourne at the time, I purchased a number of synthesisers and other electronic devices and began to construct more elaborate pieces, though more for my own interest than for any perceived 'audience'.  After a few years I became interested in more esoteric forms of music, having read about the works of John Cage and through listening to some of the more interesting artists producing music in Europe and England.  I started experimenting with new techniques, such as collage, acoustic sound sources, and location recordings.

Around this time I found other people interested in what I was doing, and also became involved in collaborative work with the short-lived group "Vale of Stone" and  most notably one member of that collective, Paul McDonald.  Paul went on to release the compilation "Massaconfusa" which contains the first Ecclesiastical Scaffolding piece (released under my own name), as well as other artists such as Asmus Tietchens, H.N.A.S., Merzbow, P16D4, Vivenza and Ramleh.  Around this time I had become friendly with Roger Richards, who was involved in promoting new and challenging music on local radio.  Roger reformed the existing Extreme cassette label and offered to release some of my material.  The first release "Ecclesiastical Scaffolding" consisted of recordings produced in my home studio over a year or so prior to its release, the second "A Book of Lies" was a document of a live-to-air broadcast on a local radio station.  A number of other non-ES projects ensued, but then I felt that things had run their course for the time, and turned my attention to other, personal matters, which left little time for my musical endeavours. A long hiatus followed, during which I moved to Hobart, Tasmania.

A few years ago I found myself becoming interested once again in realising some of my musical aims, and to that end began setting up my own studio here in Tasmania, so that I could record and produce music.  This has taken me some time, as I wished to be able to refine the recording process to a higher level of fidelity, the early ES recordings being limited by the use of  what seems now, rather primitive recording equipment.  I now feel that I have acheived this aim, and for the past 3 years have been steadily producing a body of new work.

Cover Artwork from the original Extreme cassette releases.


One side-project that saw release.  This was a realisation of a concept put forward by Roger Richards.