With Throw The Sun Into The Sea Rob Johnson has released a 10 song epic with instrumentation that is almost unparalleled in its execution. My favorite track is actually the lead track of the album, titled “The Wasp And The Flame”. The song itself about 3 minutes and 41 seconds of impressive guitar work that is both technical and melodic without taking away from the flow of the album or the presence of other instruments. The work moves courageously through genre and time signature, sampling as it goes and embracing every musical idea with just enough exploration to keep it interesting. 


Straight from London, UK, Rob Johnson has a style of music that explores the dark depths of sound to capture the light.  His poetic instrumental album entitled ‘Throw The Sun Into The Sea’ progresses through the raw fundamentals of an acoustic harmony with an exploding electric feel.

Illustrated with ten short films which can be viewed on this website, he transcends into a visual experience that is nothing short of a piece of art.  As a follow up to his debut album ‘Upon A Painted Ocean’, Johnson has a way to synchronize and dream up what the audience has been unseen to.

Available on his page, these tracks are too much of an earful not to download.  The first track kicks off with a bang and the musical world can be thankful for that.  Keep up on updates as this artist continues to reap his mind and the viewer to sow from it.  Simply euphoric, go ahead and take a listen!

“No cause is lost if there is but one fool who will fight for it” 


One of the albums I've enjoyed recently has been Fawn, the debut offering from Young Astronaut (see post here), so it was a very welcome surprise to find out that the album's producer, Geoff Swan, has also produced “Throw The Sun Into The Sea” by London-based composer Rob Johnson. Beautifully recorded, the album slowly reveals its charms over the course of the ten instrumental tracks. It's an album that owes more to film scores and neo-classsical composers than it does to rock, dance or pop, and would happily sit alongside albums by the likes of Mike Oldfield or Nitin Sawhney.

The album's opening calling card The Wasp And The Flame opens with a repeated acoustic guitar motif before it's joined by a fuller sound of drums, synths, piano and electric guitar. I'm unaware whether or not Johnson is familiar the work of guitar virtuoso Michael Hedges but their playing styles are remarkably similar; fast picked open tunings with plenty of hammering on and harmonics. Flashy without diminishing any emotional impact. Despite the range of sounds, moods and textures on this album its Johnson's guitar playing that carries most emotion. Should he ever opt for a more stripped down sound, that introspective, sparse guitar sound would work well for him as demonstrated here on The Real. Elsewhere the music is kaleidoscopic in scope, from strident military drumming on The Beginning Of The End, through to more soundscape style outings such as Throw The Sun and Eve, along with the beat-driven Monsters. There's even room for a rock-out coda on album closer The Be All And The End All.

It's a well packaged CD album, double gatefold with two booklet inserts featuring photographs of the natural world - beaches, seascapes, forests and skies. Much like the cover art and booklets, the music is wide reaching and cinematic in scope .At times urgent and dramatic, other times serene and calm, with a similarly wide reaching palette of instrumentation. It's as if Johnson has decided to put every ounce of his vision and talents into this one record. What the album lacks in continuity of sound is more than made up for by the strength of the compositions and arrangements.

The album's cover design has a slight nod to those classic Hipgnosis designs and opens up to reveal a picture of Johnson, seemingly boxed-in, trapped in a confined space or lift. In the picture he's wearing a Mickey Mouse T-shirt. Amateur psychologists can read into that what they will. As for myself I'll be taking a look at the series of short films made to accompany each track. These will be available to view from April 16th on the album mini-site ( If they're anywhere near as interesting and engaging as the music they'll be well worth a look.


Having listened to a lot of ambient music and soundtracks, enjoying the work of Tangerine Dream, and Jean Michel Jarre, to name the obvious, it was with intrigue I played “Throw The Sun In To The Sea” by Rob Johnson Music, especially as it is the first completely instrumental album we have received, and therefore the first time I have had to consider reviewing one!

In todays musical landscape it is unusual to find someone who puts together instrumental work outside of Soundtracks into the public domain that is not purely electronic, especially as most of the artists we review are indie-rock or punk. So instrumental work almost becomes niche by it’s very nature. So it has been a very pleasurable expereince sitting back and listening to “Throw The Sun Into The Sea”. I find that albums like this tend to need a quiet space to be appreciated, not easy in a house full of children and animals, so for me the backdrop for the album has been late at night on headphones, letting it take me on its journey.

London based Rob Johnson has composed some impressive layered soundscapes such as “Hurricane” that blend acoustic guitar with a soft synth backdrop that I wish at times were more than just a few minutes long as the pull you in and take you on their journey, tracks like “Throw The Sun” seem to be just interludes – but perhaps that’s the Tangerine Dream in me!

But I have found it harder than I thought it would be to write a review of an album not fronted by a vocalist! However, cutting to the chase, I really liked the album. Most of the instrumental albums I have listened to usually flow like a single body of work, irrespective of the number of tracks. However, although the style and tempo do not change dramaticlly between tracks, they still fit as a body of work on this album. I would say that there is almost a number of genres being touched upon to bring its sound together, the new age synth feel of electronica, the acoustic guitar, the strong progressive rockier drum beat holding it together. But these are all layered together beautifully.

Things get a little darker for “Monsters” with more obvious synths, acoustic guitar, and keyboards. But still maintain a dream like feel to the whole proceedings. From reading through the liner notes, there is a darker side to this album, I am not sure if it is a broken heart, but coupled with the imagery and the mood are set for, dare I say it again, a dream like quality.

To illustrate this the new album comes in the form of a complete audio/visual experience with 10 short films to accompany the record (which can be found on the website from April 16th).

Rob has managed to find a warmth that is pervasive throughout the album, irrespective of whether it is in one of it’s rockier moments such as the opening or closing tracks, or as a flowing soundscape. Recorded about 2 weeks before Christmas 2011 Rob has shown some tremendous talent with this album, and I am certainly keen to pick up his previous album, and any future work.

Of course, with instrumental work the tone, and journey can be left to the listener and their own mood. Enjoy this journey. 


It seems post-rock is a niche market in modern music, the preserve of bands like Mogwai or Explosions In The Sky. Epic and soaring, the sound is breath-taking in both its scope and execution, the soundtrack to a movie you have yet to see. Instrumental albums retain a certain mysterious allure absent vocals, the innate electronic intelligence of Brian Eno or Nicolas Jarr or even Mike Oldfield adding another branch to an already incomparably compelling genre. What Rob Johnson records in his sophomore LP 'Throw the Sun Into the Sea' is a combination of the two; a composite sub-genre all his own. Rock sensibilities are offset by gloriously subtle electronic soundscapes to form half an hour of brilliant instrumental ingenuity! There is a tangible wild west swagger, grooving and rolling into climactic post-rock revelations. There is the potential for the album, even with a run-time as short as this to fall into a predictable rut, but Johnson utilises tone and sampled texture to good effect, throwing in memorable guitar phrases more than once!

Opening with first single 'The Wasp And The Flame', Rob runs with attenuated synths along a plain that emulates perfectly the sense of gallantry and freedom that is inevitably evoked by any western. Plucking the strings of a battered guitar, you can almost visualise the heat waves vibrating in some synchronised dance, dust billowing and hooves thundering into the distance. 'Hurricane's sampled wind forms a great backdrop to the successive post-rock build and complex acoustics, 'The Beginning Of The End's initial horns a herald to something more ominous and moody than ultimately delivered. This unexpected drop is easily lifted however by 'Throw The Sun's texture. Alien groans and the whirs of a futuristic spaceship meet lush, warm synths and the cold drips that detail them! 'Monsters' similar feel works equally well, a set of abrasive synths and lighter guitar falling into place next to keyboard phrases that sound decidedly 'Tubular Bells'-esque. A possible nod to critics who hailed his debut as such, I tip my hat to Johnson.

Suggestive and profound, 'Anchors Hold On To Hope' throbs with an undeniable optimism, folk sounds shattering like a shot of uncontrolled emotion in a climactic finish. 'The Real's humble execution brings things down to earth before 'Into The Sea's up-draft of eccentric synths and idiosyncratic guitars lifts you back into the ethereal haze. Drawing 'Throw the Sun Into the Sea' to its conclusion is 'The Be All And The End All', an aptly named finisher to an incredible record. Light and delicately wrought, Johnson throws a multitude of sounds and tempos as the song progresses. The result is driven and heart-pounding and, as the final static crackles die down, beautifully introspective. The album isn't without its flaws, concious decisions regarding length and risky sounds sometimes clashing, but overall Rob Johnson's second release is fantastic. Out on the 16th, stream 'The Wasp And The Flame' and look out for the full LP here!  


London boasts the musical genius of Rob Johnson, who is due to release his new album ‘Throw The Sun Into The Sea’ – labelled by Revolt magazine as an “instrumental album of positively momentous strength” and the follow up to his debut 2009 release ‘Upon a Painted Ocean’.

Johnson has taken this album as an opportunity to share his instrumental music in order to paint an even better picture for his audience, the album comes in the form of a complete audio/visual experience with ten short films to accompany the album and if all this wasn’t enough, Johnson’s debut album ‘Upon A Painted Ocean’ featured vocals from Say Anything’s Max Bernis.

The London artist has played guitar in bands such as Forward Is The Farewell, who were known to support Hellogoodbye. Although he has found influence in many artists, this album is the chance for Johnson to make a name for himself and achieve something entirely different and original.

I found the first song, ‘The Wasp And The Flame’, extremely therapeutic with its amazing guitar solos. Drum sounds are later introduced which created a punchy beat, which escalated into an enthusiastic mix of electro, guitar and drum sounds. The variation and tempo makes it much more exciting to listen to, I loved it straight away!
Johnson has the honourable skill of being able to tell a story through his music, with the song ‘Hurricane’ having windy sounds that reflect the title. You do not need lyrics to understand and relate to the emotions being expressed. Each song has a completely different mood, this particular song is inspirational with its powerful drum beats, aggressiveness and passion. Similarly, I found ‘The Beginning Of The End’ highly enticing with its anticipatory intro, which later turns into an intense electro infusion of sound. Again, the change in tempo and use of different instruments adds excitement and I was entranced by the abundant passion put in.

As for the technicality of the songs, ‘EVE’ has a mismatch of electro sounds at the beginning, later changing into a more co-ordinated guitar section. I found Johnson’s ability to introduce two different styles into the same song quite touching, there is extreme talent to be found in this artist. In this song as well as the rest of the album, it really is all about the music alone and Johnson is one of the artists that I plead to be recognised and appreciated. There is a sci-fi alien theme to the track ‘Monsters’, so those that use their imagination will find that it becomes quite scary. I envisioned being in the middle of a Doctor Who episode, as the theatricality in this song is amazing.

Happier melodies are what make up ‘Anchors Hold On To Hope’, I found it inspiring and relaxing to listen to; who needs the sound of whales and ocean waves? The second half of the song changes to a more potent, punchier rhythm, an exciting transition that reflects great use of the imagination and amazing creativity. Another song that I liked for its punchy beats and funky rhythms was ‘Into The Sea’ – it portrays a different attitude to the other songs, a tad more aggressive and feisty, making it stand out as the product of powerful emotion. ‘The Be All And The End All’ is much more upbeat and the song explodes into intense guitar sounds, you can hear the passion that Johnson dedicates through the music. I admire his originality and abundant skill, also, this type of song is amazingly loud even at a low volume, which immediately makes it unexplainably awesome.
‘The Real’ is another emotionally touching song with beautiful guitar sections, where we learn to appreciate pure talent and originality.

It is crazy how much of an affect a song can have on its audience, but if you want proof, this album will more than suffice. I have never listened to anything instrumental before, but because of this album I am certain that my ears have not heard the last of it. Amazing work Mr Johnson. 


Mark Butler delivers his verdict on the second album from acclaimed musician Rob Johnson, out on April 16th.

It seems somewhat odd that instrumental music is still considered a niche preserve within the modern music landscape. Whether it’s post-rock bands like Mogwai, film composers like Hans Zimmer, or veteran greats such as Brian Eno and Mike Oldfield, the potential for vocal-free music to strike a chord with a wide and eager audience is really not in doubt.

London musician Rob Johnson is one such artist eschewing the way of the voice in favour of instrumentation alone. His debut album Upon A Painted Ocean was hailed as “a modern tubular bells” upon its release in 2009, and now the independent composer has returned with a follow-up that more than cements his clear promise.

Throw The Sun Into The Sea predominantly consists of exuberant instrumental rock with a flavour of the American West, but there are also bursts of introspective post-rock and moody electronic soundscapes along the way.

Johnson has a knack for finding a warm, catchy, rhythmically-pleasing acoustic-guitar hook, and then running with it in enjoyable fashion. When these pleasent foundations are built upon with uplifting shifts in tone and emphasis, the results are sometimes phenomenal.

Hurricane is a highlight, its beautiful, rippling acoustic guitar finding its way into a sumptuous blend of layered, ambient soft-rock. Similarly satisfying is closer The Be All And The End All, where a deceptively ‘sunny-afternoon’ vibe of reggae-infused guitar gives way to a thrilling rock-out chorus full of energy and passion. Anchors Hold On To Hopestrikes perhaps the finest note of all, its delightfully soothing folk  unexpectedly segueing into an absolutely wondrous post-rock explosion.

Elsewhere, attempts at fusing different styles and approaches produce mixed results. Into The Sea is a real gem with something of the Flaming Lips about it, blending quirky, outlandish synth with funky bass-line and guitars.

However, the bursts of synth on opener The Wasp And The Flamefeel decidedly out of place amongst the warm Americana, and other slightly unwelcome intrusions can be jarring at times. Monsters, for example, is armed with a delicious backbone of dark, grungy, and almost Gary Numan-esque industrial electro, but though the additional trickles of haunting piano and optimistic guitar actually work, the introduction of  noticeably low-rent keyboard-strings somewhat kills it.

It’s also arguable that certain strong ideas are occasionally left hanging. The compelling spacey synths of Throw The Sun could have made for a truly epic track rather than a short-lived interlude, while the intriguing opening murmur of The Beginning Of The End promises something darker and more outlandish than the sweet slice of post-rock it ultimately delivers.

That said, this is a generally strong and enjoyable album, and whether it’s mustering moments to kick-back to – as on the magnificently relaxing and laid-back The Real – or building from mellow acoustic moments to fist-pumping crescendos, Throw The Sun Into The Sea has much to recommend it.

Short films have been made to accompany each of the ten compositions – and it’s clear that much of this album has the flavour of an evocative movie soundtrack. It would certainly make for a fitting accompaniment to a good road-movie: complete with dusty highways, eye-widening vistas, and a well-judged balance between thoughtful contemplation and gripping drama.

FMV Rating: ***1/2

Music Dissection Rob Johnson MP3 Review

Dangerdog Review


The instrumental album brought back to life, without a trace of a tubular bell (thank God!). How many instrumental albums do you have in your collection? More importantly, how many do you listen to? I mean, really listen to? It’s certainly a tall order, but that is what British songwriter Rob Johnson, formerly of Forward is the Farewell, has attempted to create with Upon a Painted Ocean.

Like fellow instrumental projects Zombi or Pelican, these are not ‘songs without words’, or background music, or even club-intended dance or dubstep, but a true desire to express something through instruments. It’s a process very similar to Impressionist painting, where things don’t always have to resemble what they represent. Granted, it’s often difficult to tell what these abstract expressions mean; sometimes, such as in Rob Johnson’s case, the mood expressed is a lot less tangible than any words could sum up. However, the overall atmosphere blends a melancholic sense of ruin and loss, sighs of relief and crystalline beauty, and heavy-handed frustration.

After a stirring crescendo opening, ‘Monster Eats The Pilot’ can best be described as stop-start Flamenco dub, before ‘Cloak and Dagger’ warms up with beatific melody drowned out by tribal-sounding drums. With ‘Maimed Titles’, the album settles into a comfortable and rich sound: there is a constant interminable depth beneath the surface level of picked melodic guitar, with sudden panpipes and synthed female vocals like a choir of robot angels puncturing it on occasion. ‘In Cahoots’ varies from the mean slightly, featuring sly lounge-esque piano and what sounds like some kids let loose in the percussion cupboard.

The album’s highlight though is when the original theme resurfaces in ‘Milo’s Revenge’, but this time sounding like a ghoulish air raid siren, before suddenly getting rather dark, dubby, crunchy and nasty and’¦ well, fantastic. The only slight letdown is ’10:24′, which is a bit 80s in places due to its synth and bongo combination. ‘The Goodbye Ledger’ reverts to electronica-tinged twelve string guitar sprinkled with piano trills like fairy footsteps that wipe ’10:24′ from the memory, whilst ‘Hello Magda’ begs to be used in a bittersweet scene of some indie film, reminiscent of the haunting ‘Bron-yr-Aur’ by Led Zeppelin.

In the last two minutes of the album, the listener is confronted with spoken vocals by Max Bemis of Say Anything; the croaky, deadpan and tuneless voice reflects the bitterly cold pain of loss expressed in the words. This poem’s seafaring theme, recurring in the title, is also extended in the album’s sound. The roaring then serene temperament, the gracefully building moods, and the samples of crashing wintery waves all conjure up shades of deep turquoise, gold and grey.

Johnson’s composition and flawless musicianship have been greatly aided by the commendable production on the songs, after over a year of recording in Southampton. Mastered by Jon Astley, every instrument comes in crystal clear, and different parts demand the attention at every second, which is essential in a project such as this.

Admittedly, the listener has a tendency to drift off when not in the right state of mind, and certain songs on Upon a Painted Ocean simply glide by unnoticed; perhaps because the songs are more like movements in a long orchestral piece, and the style is thus unvarying. Other sections meanwhile truly affect the listener and stand proud as expressive, colourful and powerful songs, proving that instrumental albums don’t have to be gimmicky, obvious or bland. Ultimately, however, the art of recurring themes, subtlety of expression, development and recapitulation is lost on most audiences, who sadly couldn’t contemplate or interpret even something as eloquent as this.


Robert Johnson has an awful lot to live up to. Not only does he have a namesake who can comfortably be fingered as the Godfather of Rock but there’s also the little matter of restoring the mortally tarnished reputation of instrumental rock guitar music. Saddling himself with a distinctly New Age title (Upon A Painted Ocean is a quote from Coleridge’s poem “The Rime Of The Ancient Mariner”) and a beautifully composed cover shot go some distance toward disguising the more muscular rock songs that are in evidence on the album.

Really, only Steve Vai, Jeff Beck, Frank Zappa, Michael Rother, Ed Wynne (Ozric Tentacles) and, latterly, Steven Wilson have even approached this difficult and fraught area of music with any hint of success. Of course, the only thing that unites these disparate talents is the guitar; musically they are all unique. Rob Johnson is no exception, and sounds like none of the above.

Indeed, Upon A Painted Ocean sounds a little like Porcupine Tree covering New Model Army, with the magpie borrowings of the Beastie Boys thrown in. There are recurring musical themes and elaborate reinterpretations (“Point The Gun And Pull The Trigger” reappears to serve as the undercarriage of scorching rock song “Milo’s Revenge”, for example) and the album feels like a coherent project.

With tracks ranging from 51 seconds to over five minutes, this 14 track album is a smorgasbord of acoustic and electric guitars placed in a variety of settings and cushioning the blow of using what sounds like a (nicely understated) drum machine for the rhythmic engine. At odds with the New Age-y exterior are the song titles: “Point The Gun And Pull The Trigger” is a Robert Fripp-like acoustic guitar and riff soundscape, unsettling the listener before reassuring them with the chunky riffing and melodic hook of “Monster Eats The Pilot” – complete with a voice saying “hello” before the almost three minute melodic rock song makes its presence felt. Hook-laden and hummable, Rob Johnson splatters Upon A Painted Ocean with a dazzling array of guitar sounds, studio trickery, scratching, didgeridoos, sound effects and even a short extract from Coleridge’s poem  on “555-0134”, spoken by Max Bemis of Say Anything. All to capture the listener’s attention and keep it.

“Maimed Titles” is – perhaps, as its title suggests – a film soundtrack without a movie, starting slowly and gradually piling on the guitars and the pace for a rousing yet melodic climax. “… End Credits” pretty much confirms this with a squelchy keyboard version of the same tune in a vastly different setting, including the sound of synthesizers on the verge of nervous breakdowns. “bipolar” is the nominal end to the first side (if Upon A Painted Ocean was a vinyl album) and it recapitulates the musical breadth of the preceding songs, always showing that New Model Army tendency of making it sound like live playing and proudly showcasing the acoustic guitar as a rock instrument. Indeed, Upon A Painted Ocean sounds like a solo instrumental album that Justin Sullivan could have released.

“Turn The Page Now” urges the voice, just before the second ‘side’ starts with the laid-back “In Cahoots”. Of course, it wanders back into rock territory again, but it is the juxtaposition of the guitar sounds and styles that really inspires the imagination. The blunt acoustic folk of “Hello Magda” is given a smoother image in the slowly building closing track “Amy. G. Dala”, which bounces around in synthesizer limbo before taking off on an altogether more interesting journey. Featuring the final voice contributions from Max Bemis it ends the album on a positive rock note, although it takes its time getting there.

Rob Johnson is going to find Upon A Painted Ocean a hard sell (unless a kindly film producer asks him to score a movie, perhaps) but the sheer quality of the music on offer is something to smile about. I don’t envy him the challenge, but this is a sterling attempt at revitalising a moribund genre. Anyone who mentions Tubular Bells, however, will be both wide of the mark… and shot.

Overplay review


Cinematic without a punchline.

Its difficult to get a grasp on ‘Upon a Painted Ocean’ by Rob Johnson, which is not to say its bad, there's not too much to dislike, its just hard to say what to like about it. It is hard to think of any moment where you feel that the album has came to life, its as though its permanently on the starting block, its revving its engines and giving you the impression it could roar off into the distance. That moment never comes leaving the listener sort of listless and unsure what to make of the record. The acoustic hum and strum is nice, its well played and it keeps moving, slowly but always onwards but theres not much to hang on to. Vocals and lyrics aren’t for everyone, that's fair enough but the odd smattering in the first half of the record would have really helped involve the listener and welcome them into the record.

The intricate plucking on ‘Maimed Titles’ is really nice and well worth listening to and could well feature in the background of many TV shows or mix compilations but even that starts to grate and age by the end of its run. The change of tone in the grittier guitar adds to it by bringing some extra life but equally, it manages to detract from the beauty and again, leave you crying out for some vocals to allow a better contrast to be made.

This is the pattern for the rest of the album, there are some good electronic moments and wizardry on tracks like ‘...End credits’ but not enough to make the rest of the record worth listening to over and over. In a way, its a great shame, its a more intricate and thought out record than many that will wind up in peoples homes this year but it doesn’t do enough.

If you want a challenge or you like a record that has to work its way into your favours, then this may well be a great project for you to try out but if you don’t have the time to spare, this may go over your head. 

Alter The Press Review

Punktastic review 

Rob Johnson is a guitarist and musician from London, who has spent the last few years making instrumental film soundtrack (esque) instrumental albums. Heavily inspired by a wide array of influences, Rob was initially inspired to make a ‘Tubular Bells’ like record for the 21st century after his previous band ended and there was nowhere to house the new demos he had made for that project. He went on to make his debut album ‘Upon a Painted Ocean’ that was released to a little critical acclaim in 2009. In 2012 he has returned with the follow up, the ambitious ‘Throw The Sun Into The Sea’ which comes in the form of a visual album, as Rob has gone further this time, pursuing another of his loves – film making. Consequently this album comes complete with 10 short films to accompany the music, dealing with themes of heartbreak juxtaposed with a (possible?) alien invasion… Your average instrumental album this is not. 

01. What are your earliest memories of music? 

I can’t remember anything specific, but I have vague memories of hearing music in my Dad’s car when he would take us places – things like Mike Oldfield and The Police that have remained massive influences on me to this day. Steeleye Span and Clannad not so much… 

02. Do you come from a musical family at all? 

My mum used to be a music teacher so she taught me some chords on the guitar when I was very young. My brothers and sister are all musical as well (drums, trumpet, flute, singing), so it definitely runs in the family. 

03. Who are your major influences and inspirations and who do you despise? 

Right now, Peter Gabriel is my biggest influence. Both in terms of music but also the variety of projects he has worked on and the quality he has maintained throughout his career. He is an artist I aspire to be like. In terms of biggest influences on my guitar playing style – it all comes from literally hours of playing along to my favourite albums and almost religiously studying the guitarists of those bands. People like John Frusciante, Tom Morello and Mike Einziger – those are my 3 biggest guitar influences. I think the music you listen to when you’re growing up and the penny drops and you start actually discovering the music you like instead of what everyone else is listening to is massively important, and for me it changed who I was and everything I wanted to be. So when I first heard Rage Against The Machine, or the Red Hot Chili Peppers and Incubus, it kind of blew my mind you know. The first time I saw the Chili Peppers live, I was 16 and it literally changed my life. I saw John Fruscicante playing and literally thought – that is what I want to do. I still love all those bands very dearly and their music has helped me throughout all aspects of my life. I despise… Maybe bands or artists who seemingly have not worked hard to get where they are, or manufactured bands producing music that is very obvious. A lot of what is played on the radio – whilst the majority is very good and you can understand why it is being played, sometimes you hear a song and it’s just like – ‘are you serious?!’ Those acts I’m not too fond of. 

04. What drives you to make music in the way that you do today? 

I am a creative person so to have this outlet is in many ways a joy. I have a way in which I can communicate my view of the world to the rest of the world. (Whether or not they choose to listen is another matter entirely… ) At the same time I do feel like I am pursuing something with the sound and ambition of the projects that has the potential to be unique and groundbreaking. I feel like I am finding new ways to make interesting sounds on the guitar and I think I have something to say that hasn’t been said before. If I didn’t I wouldn’t do it. And you have to have this kind of self belief because it is not easy, and without it I would not be able to pursue it, because it is madness. I just have a general feeling that this is what I am best at in my life and that I should pursue it no matter what. Time will tell whether or not this was a naive assumption. 

05. What can someone who has never seen you live before expect from your live shows? 

Fire. Danger. Dancing girls. Guitar theatrics and classic comedy. In that order.  

06. What is your song crafting process? What types of themes and subjects do you deal with? 

I am pretty much always writing, however 95% of this will be stuff that I never use, but what I am doing subconsciously is learning what sounds good where, what works and what doesn’t etc. Then every so often I’ll hit a few notes in an interesting or different way and then I’ll know instantly that that is an idea I need to pursue. So straightaway I’ll record it just into my iphone or whatever so it’s not lost in the ether. Then I will keep playing, crafting and chipping away until a song emerges. The process can be sometimes very quick or sometimes very slow. There is now rhyme or reason to it. It’s never the same but it is that constant search that keeps me going. It’s basically like a big jigsaw; working out what needs to go where, and sometimes when you can connect a new part you’ve just come up with to an idea you’ve had for years it’s the best thing ever. Like it was always meant to be or something. It’s basically like connecting the dots. 

07. How did your music evolved since you first began playing? 

It’s become more structured I suppose. I mean it always was, but at the start I think you follow a very rigid verse, chorus, verse, chorus, break, chorus, chorus structure and nowawdays my songs are not at all like that. Some are very simple and come are very complicated structure wise. I think in general it has just evolved across the board – notes, chords, time signatures, musicality, ambition – as my understanding of the guitar and music in general has grown. 

08. What has been your biggest challenge as an artist? Were you been able to overcome this? If so, how? 

The biggest challenge I have as an artist (in my opinion) is that the music I make is instrumental. Therefore it is immediately harder for an audience to find, take on and appreciate because there are no words. However, I also feel that some of the most famous and well known music we all know is instrumental so from that respect it doesn’t bother me. But I do think that these challenges that come from being different and out there and not having words while they are at times overwhelming and daunting, they also give me enough ambition to try and overcome people’s pre conceived notions about instrumental music and what an instrumental album will be and sound like. 

09. Do you play any covers? If you could pick any song, which would you like to cover most and why? 

I don’t live, but I do in private and am always toying with the idea. I worked out a version of ‘Breakin a Sweat’ by Skrillex recently that I think worked pretty well… If I could pick any song I’d probably choose Sledgehammer by Peter Gabriel. I think that’s just a genius genius song. I don’t think I could play it in public though as I don’t think anything could even come close to the original. Although the best cover I think I’ve ever heard is the Ryan Adams cover of Wonderwall – which you’d think would be an untouchable song to try and cover but he did a amazing job. Also Hurt by Johnny Cash. You listen to a song you’ve heard a million times and you know ever lyric and they make it sound brand new. Incredible. 

10. Where did you envisage yourself being in five years time? 

Hopefully scoring movies, with a couple more albums on my shelf. 

11. Who would you most like to record with? 

Red Hot Chili Peppers. I am inspired by their music and think they have an incredible work ethic. I’d love to jam with them – Josh Klinghoffer is basically living my dream right now. 

12. What should we be expecting from you in the near future? Please feel free to plug your Album? 

I’ve just released a new album called Throw The Sun Into The Sea, and it comes with a short film for every song. You can check it all out on this site If you like instrumental music, music in general or sunshine then you should go check it out. It might just be right up your street. I’ll be out and about playing gigs across London and further afield to promote it. So that is my focus for right now. I’m always working on new songs but I have just spent literally 9 months on Throw The Sun, so now I need a little creative break before I attempt my next project – but I have a few ideas in mind…


Where did you grow up?

I grew up in a small town in England called Salisbury. Out in the English countryside a little bit.

Whats your first memory concerning music? When did you start making music?

Not really too sure – I have a distinctive memory of hearing ‘Layla’ by Eric Clapton / Derek and The Dominoes as a kid and just having the urge to play it on the guitar. My early experiences with music all pretty much came from hearing songs in my Dad’s car when he was taking us anywhere. Looking back these bands and songs are still the biggest influences on me today – stuff like Mike Oldfield which really influenced the last album, but now it’s all Peter Gabriel and the Police, and that all came from hearing these sounds at a very impressionable age I think. I started playing guitar aged 9 or 10 at school. Just chords and stuff and then when I started high school my parents told me I had to take up an instrument – so by then Guitar was a no brainer. For better or worse that decision influenced pretty much the next 20 years of my life!

Have you playing in any bands? If so what were they?

I have played in a few different bands and projects over the years. You can probably Google the band I was in the longest ‘Forward Is The Farewell’ and see what turns up. We had a couple of EPs and worked pretty hard on it from 2004-2007.

Do you have a method to writing/recording your music?   

I’ve got to a point with it now where I am quite comfortable in my song writing – in that I don’t put too much pressure on myself. I have basically spent the last 10 years writing songs on and off so I am at a stage now when I know when is a good time to write and when isn’t. Although when I have deadlines or whatever I will just plough through it. But in terms of what actually happens, I try and play/practice for at least an hour a day and normally ideas will just come when I play. (But if they don’t, they don’t) Usually I’ll hear something that triggers something in my brain that says ‘that’s different’ or intrigues me in some way. So then I record it straight away just into my iPhone so I don’t forget it. When I know I have that I’ll either stop playing or play another song or whatever. That way I know if that part was any good when I next pick up the guitar by whether I want to play it or not. Normally if you come up with a new idea that you think is cool you just want to play it over and over. This is one little way in which I can tell if a new idea holds any weight. Then it’s just a case of working on it, chipping away, trying out new ideas and seeing if they work. It can be a very long or a very short process depending on the song. But it’s become something that I am much more comfortable with and understand much more than I did a few years ago.

What bands and/or artists inspire you? Are there people outside of music that inspire you?   

I am inspired by just about a million different things! Music, art and the world in general. Bands and musicians than inspire me right now are people like I’ve mentioned before – Peter Gabriel, in terms of musical output but also everything else that he does – his studio, the film soundtracks etc. I’ve had an idea for a while about an interactive album, (I am always thinking of new ways to engage an audience with the music, mainly I think because I am an instrumental so don’t have the benefit of words to get a point across) and anyway I just found out the other day that in ’97 Peter Gabriel released this interactive cd-rom album called ‘eve’. I watched it on Youtube and it was pretty cool, kind of out there but so forward thinking. That’s what inspires me. And incidentally I have a new song called ‘EVE’ as well! So I guess I am inspired by forward thinkers – people / artists who do things that are so far ahead of what is expected and so therefore become a massive influence on everybody else. Bands like Brand New, filmmakers like Christopher Nolan – they basically have the whole world holding it’s breath waiting to see what comes out of their heads. I find that inspiring and exciting to me.

If you had to pick something about your music that defines it, what would it be?

Hopefully the fact that the listener doesn’t necessarily know what is coming next. Or the fact that it comes from my head. Other than that I can’t really answer that – tough question!

What’s your favourite part of being a musician?

Even though it can at times be exhausting I think I’d have to say the recording process – when one idea spirals into another and before you know it something has been created that you could never have possible imagined initially. That happened for instance with the intro to EVE on the new album. When we put that sound at the start I was bouncing off the walls. But I also love playing the guitar, it is always there for me you know, rain or shine. And with my music now and the film I’ve made for this album it’s sort of becoming this outlet for a whole host of ideas that I have, which opens it up in terms of possibilities of what I might do in the future.

What do you do in your spare time?

Play guitar, watch movies, the usual. But I haven’t really had much spare time in the last 7 months, this has been an all consuming project!

What kind of TV shows/Movies do you like?

I loved LOST, The Wire, Dexter, 24, the addictive TV boxsets, I haven’t actually watched one in a while. Need to get back into it! My favourite movies are Jaws, Jurassic Park, The Dark Knight, Fight Club, Transformers….

What do you hope to accomplish with your newest release?

I am just trying to get it out to as big an audience as possible. Ultimately I’d love to score movies or something like that. We’ll see…


ATP: Tell us how 'Upon A Painted Ocean' came together?

R: After I had decided to make the record I spent probably around 6 months writing it. That literally consisted of me coming home from work every night and sitting down in my room in the dark with two lava lamps, my guitar and my 8 track recorder, just going over and over all the ideas I had, before turning those ideas into songs. Then when I knew that I had enough music and the running order was sort of in place I got in contact with Geoff Swan who has always recorded my bands before. He was really into the idea so we did a few evenings of pre production and then got stuck into the recording process in april of last year. The idea was to do it all on acoustic guitars - with a kind of bare bones approach to the programming - I only booked 10 days of recording to start with! A year and a bit later we finished the album - it was clear after the first few sessions we were onto something (we just didn't know whether it was any good), but also that it was going to take a lot longer than 10 days. Mainly because of the depth of the programming that was involved but also all the additional parts that we had to work on, test out and record. We exhausted alot of ideas to get to the recorded songs you hear on the cd.

ATP: What aims did you have when making the record?
R: It really is an attempt to create something completely different, something that will hopefully get people interested and want to hear more. There are themes, stories and whatnot placed throughout the songs and I hope that if people choose to listen and to delve in further there are many layers for them to read into and interpret in whatever way they choose. On some of my favourite albums of all time I can almost hear something different every time I listen to them - be it a bass line or to hear it differently if you listen on headphones, that sort of thing. I definitely want this cd to be one of those albums where there are different layers and you can hear different things the more you listen.

ATP: Did you play every instrument on the record or were you assisted?
R: I don't play every instrument. I play all the guitars on the record and wrote all the songs. Most of the additional parts that I hadn't already brought in to the studio were created on the day we recorded it and Geoff laid those down - most of the keyboards and bass is him. Drew Shipsey played drums on the record and there are also parts by Steve Bega on bass, my brother Duncan on percussion, and Gavin on trumpet. Mary Spender provides guest vocals along with Max Bemis. It was a very collaborative process and I was there in the background kind of directing everything.

ATP: What musical influences have inspired 'Upon A Painted Ocean'?
R: There a few albums that were specific influences on the record. I would say that these are obviously Tubular Bells; in terms of what is possible with an instrumental album and the potential effect that music can have on people. We listened to Tubular Bells 2 alot infact, and while no song sounds anything like tubular bells I think that that feel is there throughout the record, particularly on tracks like 'Cloak+Dagger' and 'Maimed Titles'.

There are a couple of songs on John Frusciante's album 'To Record Only Water For Ten Days' that showed me early on in my guitar playing what could be created just by having guitars on a track. The tone and feeling on some of his songs particularly on that record are incredible.

'Chroma' by Cartel - While I'm not a huge fan of the band I think this album is really good. Every track is great but its towards the end of the album when each song flows into the next perfectly that really struck me first time I heard it. I love albums that do this and really appreciate albums that do it and it works! Upon... is an album that is really meant to be listened to as a whole and having tracks that run into each other is something we have tried to emulate.

Other than that I am a huge fan of bands like incubus, rage against the machine, brand new, the police - these are bands where each guitarist has heavily influenced my style of guitar playing. I also listen to things like nin, mastodon, blink-182, say anything, peter gabriel, boys night out, minus the bear etc. Alot of soundtrack music influenced the cd as well, people like Thomas Newman, Daniel Licht, Hans Zimmer, Steve Jablonsky, Michael Giacchino - artists that have to create mood and feeling without the benefit of words which is exactly what we were trying to do on this record.

ATP: On the record, you seem to cover various genres. Were there any specific genres you wanted to include?
R: No - thats just the way it came out. There was absolutely no attempt to write in a genre, but definitely an attempt to create certain feelings, a mood and a tone. For me the record has a definite atmosphere and I hope this comes across to listeners. As for any genre we do cover - i think this just comes from my guitar playing and influences in general. I think the album is quite angry and aggressive in places though - the next one will be a bit quieter! 

ATP: It has been well publicised that Max Bemis of Say Anything and Two Tongues makes a guest appearence on the record. How did the collaboration come about?
R: When I had the first meeting with Geoff about the album and my ideas for it I talked about how I wanted a spoken word part in one of the last songs - kind of as a shout out to the end of tubular bells, but also for a bit of narration to end the album, to add to the drama of it. At that point having Max Bemis on it was completely out of the question. He is one of my favourite singers and I love Say Anything but it seemed like just one of those ideas that will never materialize. Then luckily enough my brother started working for Say Anything on tour as their drum tech - right around the time we were recording the record. I asked him to ask Max and he hooked it all up. Max recorded his parts backstage in London at a Say Anything show last July. I think that that part came out really well - its kind of the crux of the record and we worked really hard on just that part of the song to get it exactly right. Then after he finishes speaking the song just goes nuts with guitar and the album ends. I'm really happy with how that came out.

ATP: What do you have planned in the future?
R: I'd like to do a painted ocean 2 at some point. And a third but we'll see what happens. I have alot of ideas about what to do - and how to distribute music nowadays but without the funds behind you its not that easy. Whether I'd record another album at this point I'm not sure. I think everyone has to see how the future in terms of music distribution pans out. It seems the only way artists can make money is by touring as that experience is something that can't be downloaded. So on that front I'm really keen to get a band together and see if we can pull off the painted ocean experience live!

ATP: Do you have anything else left to say?
R: I hope some of your readers will be intrigued enough to take a listen to my music and see what they think.

Also I have a new website that I've been working on to support the record. Thanks for taking the time to read this!