One of my tracks from the forthcoming series ‘Human Universe’ presented by Brian Cox, Featuring Evelyn Glennie with the ESO & Philip Sheppard. The image is another stunner by my dear friend Trey Ratcliff (who’s probably in the desert at Burning Man right now…).
The ceremony will take place at the Leeds Arena this Thursday, and will precede the Yorkshire Grand Départ.
Sheppard, who has previously arranged and composed music for both the London 2012 and Beijing 2008 Olympic Games, will perform new work inspired by the sounds of cycling.
The orchestra will also accompany Yorkshire band Embrace, who is headlining the event.
Sheppard has scored 25 feature films, and as a cellist, has worked with the likes of David Bowie, Jarvis Cocker and Jeff Buckley. He is widely-known for using electronics in conjunction with classical music.
So.. here’s the next extract from the set I played as support for UNKLE at the Royal Festival Hall – opening for James Lavelle’s Meltdown Festival. This is my live cello-looped version of my orchestral piece ‘Final Day’.
Here’s the bizarre gear that goes into my gig bag along with the cello.
I played as support last night for UNKLE at the Royal Festival Hall opening for James Lavelle’s Meltdown Festival. Here’s my live cello-looped version of ‘Glow’ by UNKLE, a track I first worked on way back when we were recording Never, Never Land…
I’ve been a long-term collaborator with James Lavelle since being invited in to the Never Never Land sessions with UNKLE to play acoustic and electric cello. Since then, I’ve performed on numerous tracks as a string player, and have been a co-writer on many album tracks.
My first impression of James and his working method has remained intact, save for the fact that over time he’s become a dear & trusted friend.
James is an alchemist.
He instinctively knows how to throw disparate personalities & elements together, resulting in beautiful dissonance and restless confluence.
At the time of the first sessions I was working as a classical cello professor at the Royal Academy of Music and James blew the doors off my recording life, giving voice to my wilder sonic personalities, encouraging me to stretch the potential of my musicianship.
I remember one day working on Beethoven sonatas at the Royal Academy, then getting in a cab up the road to a North London studio with James, Keith Flint, dry ice, strobes and a license to let rip in an all-night recording session. That’s living the dream…