Born in Newton Abbot, Devon, I first worked in Point Studios in 1982.
By 1984 I was producing Savage Progress, a mixture of folk, ethnic and dark sounds (300,000 sales in Germany).

By 1985 I was working in Paradise Studios, Europe's first totally computerised studio. I met Coil around then and supplied noise on the Fairlight 2 for early projects before contributing more extensively on the *Horse Rotorvator* album.

Coil taught me to enjoy noise creation again, leading to work with Psychic TV and other noise pioneers.

In 1989 I acquired one of the first UK Akai S1000 samplers.

In 1990 I co-produced Coil, programmed/remixed a large amount of rave material, and remixed tracks including Monsoon's "Ever So Lonely", Adamski's "Killer", Hypnotone, and Flowmasters' "Let It Take Control".

I met some interesting characters like Adamski, but the highlight was co-producing/writing *Love's Secret Domain*, a session I wish had been filmed. My work with Pop Will Eat Itself led to time in Madrid producing Fangoria for EMI.

Then followed the Coil/remix period, where we remixed Nine Inch Nails, Depeche Mode and others in our darker style.

I created the chopped vocal for "Gave Up" using a technique I still keep secret.

Some of my writing from this period includes "First Dark Ride" and "Nasa Arab".

We also wrote *Baby Food*, *Stolen & Contaminated Songs*, and the first Elph/Eskaton projects.

I was invited with Coil to write for Derek Jarman's film *Blue*, where we wrote a piece of melting disco.

In 1995 I reprocessed the BLD songs at my home studio and developed the filtered/resampled sound heard throughout *Red Skeletons* and *Stone Circular*.

In 1996 we travelled to Trent Reznor's studio in New Orleans to complete the long-awaited "Backwards" album for Coil.

Once finished, I completed my project *Sub Sonic Commune* in 1998, followed by a couple of years dealing with publisher issues.

I then took a much-needed break until 2002, when I reconnected with Coil and proceeded to write *Unearthly Red* with Peter Christopherson. Mixing *Remote Viewer* also took place during this period.

I began the album A Nature of Nonsense. Also worth hearing is the Sensimilla Dreams album.

I spent time in Asia, where Christopherson (R.I.P.) and I wrote music for Black Antlers, *Absinthe*, the updated Remote Viewer, Threshold House Boys Choir, and contributed programming to what became X-TG *Desertshore*. (See clip on the Blog page.) This period also produced tracks that became ESA – Moons Milk in Final Phase.

When back in the UK, I completed the Svay Pak project.

And on to Electric Sewer Age #2 Bad White Corpuscle project.

Then in 2019 The release of Electric Sewer Age #3 project.Contemplating Nothingness