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SIMON JAMES

SIMON JAMES is a self-trained musician, producer and sound designer based in Brighton, UK, who’s work combines electronic sources such as the Buchla Electric Music Box (a self-contained electronic synthesizer) with a mixture of field recording techniques and sound treatments, using sound to transport the listener to fantastical audio worlds, where the lines between the sonic, physical, historical and mythical are often blurred, the ultimate aim is deep immersion and escape.

 

For over 20 years, James has experimented with found sounds, archive material and electronic sources to create multi-layered collages and intricate compositions. His work has resulted in invitations to perform at the BFI and Royal Festival Hall, as well as more unique venues such as a 1950s telescope dome, Kelvedon Hatch Nuclear Bunker and Newhaven Fort.

 

James holds an impressive and varied CV, during the early 2000’s, in collaboration with DJ Format, James released a number of 7” under the name the Simonsound, mixing Science fiction, library music, Radiophonic workshop style experimentalism and turntablism culminating in the 2010 album “Reverse Engineering”, selected by Radio 1’s Giles Peterson as his record of the year before turning his hand to a more darker introspective sound as Black Channels, with Becky Randall, releasing dark psychedelia through the cult soundtrack label Death Waltz records.

 

More recently, James has provided Buchla and electronics for Max De Wardner’s upcoming album and has been collaborating with composer Andrew Phillips (Grasscut) on soundtracks for feature documentary films and RTS/BAFTA Award Nominated BBC TV documentaries, combining electronic aesthetics with traditional orchestration, and was commissioned as the lead sound designer and composer to create the sound of Audible Award-Winning audio drama, Blood Culture, a ‘techno-thriller’ funded by The Wellcome Trust.

 

With Space No Space, Simons third solo work under his own name, we find his ear for cinematic scope, mood and sound applied with a subtle and minimal restraint via 14 improvisations using only two sound sources, a Buchla Electric Music Box and a Ciat Lombarde Cocoquantus, a boutique “cosmic looper”. Through these one take improvised recordings, James has created an audio landscape of imaginary places inhabited with intricate haunting sound design, of which it’s spontaneity gives a warm organic life.

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