Monday 26th June

June 26th, 2017


Mia rides ya slip and sends a list of her favourite moments : –

–  the Rules over the lunchtime commuters at Grand Canal Dock (sublime contrapoint of text and location)

–  that massive surge of trance music over the Sam Beckett Bridge (omg, I was flying)  (? trance music ? you mean the massive violin slab? cool! – kaffe)

–  diving/Granny’s sigh has a lovely and surprising quality (up O’Connell St after the Dublin Spire)

–  ‘where’s me stuff …,’  loved the energy in the text & music here (coming down Dorset St)

–  the last bit coming down Townsend Street (Nayler’s fleet assassin) – loved the change in vocal tempo

–  also there was an incredible bit when I went under a bridge on the way to Grand Canal & the sound just boomed out, brilliant.  ( o yeah – the acoustic under that small bridge over the cobbles is awesome, try riding really slow –  kaffe)

Loved all your loops & music & sounds. With more time I imagine they could have been even more complex, but they were soothing and stimulating and gorgeously mixed – I missed them when I went back to my normal bike Winking smile..

Overall,  I think my biggest surprise was how sensual and pleasurable the whole experience was. I loved feeling the vibration of the bike through my body, and I felt bathed and surrounded by the story and the soundscape, like I was being accompanied by it. It was oddly nurturing. At one point two vocal pieces played over each other (the party and the offer) – probably because I left the route and came back to it? – but it was actually really exciting and surprising to listen to. Also the sounds didn’t distract me one bit from the traffic. If anything I felt safer cycling on an SB because I felt I was carrying a much bigger energy field around with me that normal – make sense?

Also loads of people turned & looked, and one guy (not Irish) on a folder bike started chatting to me, asking about the bike and was it a guided tour. He loved it!


Friday 23rd June

June 23rd, 2017

News in from Dublin that ya slip riders are returning  ‘ – amazed, transported & weirdly & profoundly nourished ‘, the spirit lifting intensities on the Samuel Beckett bridge  also causing some comment. However, check what happened to Alexander .. above.  Yup. He returned home with no GPS receiver. It’d been snipped off on top of the bridge. Watch out for those wanting to chat if you stop passers-by riders!




Wednesday 14th June

June 14th, 2017


I’m at the Charterhouse in Coventry being told that there used to be an order of Carthusian monks living here in silence in the 14th century. The house and garden are also on the heritage bike trail  for which I’m making a sonic bike opera for 2021 with Imagineer Productions.  Today, we’re exploring the route of the trail, along the river, through a hole in the fence and a scramble up to the old overgrown railway line that even the locals don’t seem to know is there, down at the other end, past the Green, down Fargo and back. So it’s only a couple of miles.

Intriguing to have 5 years to make this. Right now, beginning the compositional research with a residency, just me alone in silence at the Charterhouse next summer, seems like the ultimate start. Let’s hope they think so too.

Thursday 8th June

June 8th, 2017


Ya slip ta bang is in. Opening at 5pm today. Marjorie, Nancy, Linus, Pierre, Erna, and Alexander with mute Lee accompaniment bike, are all loaded with map and music to play as you ride the city streets following that route for 50mins. 60 if you get into the play part at the Docklands. Many thanks Science Gallery team for support and enthusiasm on every level. SOUND CHECK sounds and looks like a great show.  Hope you get to visit people. It’s OPEN until 26th September 2017 amd is FREE.  To book a sonic bike ride go to

Wednesday 7th June

June 7th, 2017


I’m again impressed with the accuracy of the GPS. The indicators are all in – many re-adjusted to bang in earlier allowing for tricky traffic negotiations – but successfully sounding which way to turn.  Am also needing to deal with the Luas line roadworks which could all be gone by August, so the Dame St route home might work as the optimum version to take. Mia’s final text certainly sits well along the impersonal and human scarcity of Fleet St to Townsend, alone, intense and clear. So it’s been a three full rides day and I’m exhausted. On the last ride, when I could finally say that the piece was finished I’m arriving back at SG going,  ‘ wow.. now that’s a movie… god, it’s sad ‘, then wondering is that a bad thing? But the opening sounds play again just as I arrive at the T-lights and their pitch and pattern give a lift and a space and a reflection of optimism.  They weren’t placed there for that purpose at all.  Ah the delights of bicrophonic composition.

Tuesday 6th June

June 6th, 2017


Torrential rain plus wind plus Bank Holiday Ireland restricting charger access equates a tricky street testing weekend for bicrophonic composers. However, today proves that the studio work did realise what was intended as the piece now rides pretty much in place. Voice, sounds, music, traffic and riders legs are working well together with just a couple of fine tunings such as – 1. the intenstiy of violin blast over the Sam Beckett bridge as the sea wind fills your nostrils riding over the Liffey and 2. the swell on the anthemic nomorePa  song heading up O’Connell St amongst the roadworks and shoppers, the Dublin spire vibrating high into the sky above you – still to make. After that, it’s just the indicators to pop in.

Thursday 2nd June

June 2nd, 2017

Edit time. This piece has a linear narrative, a beginning and an end, and I want riders to find and follow it.  So, the alternative routes to the canal and  frills on the edges need to go. There’ll be one short cut, a choice of 2 routes home, and the option on some extra moments around Smithfield. It’s around 50 mins long. Simple.

(Note. Start of piece is yellow central spot and follows the intended 15th May route)


Wednesday 1st June

June 1st, 2017

Had the great fortune to be able re-record Mia at the fabulous Camden Recording Studio last night, so today has been spent editing and mastering what we did and slipping the results back into the score. Rain Rain so I can’t test till tomorrow. Super interested to hear the difference as the vocal is recorded much closer and softer so v.different in feel. Working with spoken voice, mixing it into the music and sitting it on the streets so that it works just so of course KM is a bigger job than anticipated.  Time before opening rushing away. Many thanks Connor Brady for support.


Tuesday 30th May

May 30th, 2017

Yes. We have an instrument that works. I loaded sounds and map onto the pi, set off and ping. Every sound file played where it should, for the duration that it should and with the added unpredictable combination bonuses of street riding.  To be reminded that the years of developing this system has created such a solid system is good.  Great stuff BRI. Now the fun can begin..


Monday 29th May

May 29th, 2017


Fantastic weekend trawling through Mia recordings and my compositions and starting to map the shape of them across the city. With rain lashing Irish style outside, it seemed OK not to be out on the bike testintesting, my own words ringing in my ears… ” you really don’t know what you’ve got until it’s out on the bike and you’re moving with it! ”  – but there’s a new situation here.  I’ve decided to work with a writer, and I found and asked Mia Gallagher and she suggested Hellfire as a place to start and within 100 pages, I’d decided this was the story to work with.  Largely as it’s about a girl growing up in Dublin and how she gets introduced and addicted to heroin. And how easy that is, and how poverty is so tied up with that, and overall reveals this layer, prevalent everywhere that we either ignore or associate with bad or sick people.  Addiction. We all have them. Why are drugs like coffee and alcohol and facebook OK and encouraged and a heroin addict is a junkie and therefore a failure? (check this article from Irish Times)

Mia’s story is based on years of workshops with ex-offenders and homeless, many of whom also had drug related offences, and their stories feed into the voice of Lucy Dolan, the central character in Hellfire. And it’s a gritty read and fast. So the music I’ve made is rhythmic and noisy, in factproces as well as slowly shifting layers of shifting beatings with theELKA.

I’ve mapped a lengthy route,  which does not, I realise now, bring in the prettiest parts of Dub at all.  As ever it’s about ease of navigation to and from Science Gallery combined with the intense city centre roadworks as well as the places I want to include. And then there’s the narrative. Not only the spoken voice telling a local story on the changing streets, but a linear narrative I want to use and follow.  Now that I’ve mapped it across the city, it’s obvious which sections I can lose. Plus I’ve got the text for the beginning. Different to the one I thought I’d use back in the studio. Progress. Tomorrow we’re on the bike.