I’ve just completed an album of cinematic instrumental pieces intended to be used as film music. It features some remixes of “Just” and several completely original ambient and orchestral pieces. The whole thing is loosely inspired by Tarkovsky’s cult 1979 sci-fi movie Stalker.
It’s the most experimental thing I’ve done since “The Isle of the Dead” and it doesn’t feature any nice new-age folk songs. It’ll be interesting to find out how people react to this!
|1.||Landing Party 05:53|
|2.||Space Tourist 04:31|
|4.||Wizard Of Nought 04:54|
|5.||Office Automation 01:26|
|7.||Sneak Jump 02:36|
|8.||Factory Setting 06:54|
|9.||Going Forward 11:55|
|12.||Waiting For The Night 04:24|
|13.||Porcupine And The Monkey 04:59|
|14.||Nervous Breakthrough 07:14|
Dan Poole: kit, trumpets
Richard Mason: gtr
Andy Roid: synths
Richard Sealand: theremin
Laura Tupker: tuned percussion
Samples from: jenc, greekirish, dobroide, anton, hodbinah, benboncan, rutgermuller, newagesoup, kolezan, melack, robinhood76, paespedro, zott820, daniel_simon, marcel-farres, ch0cchi, stereoscenic, felix-blume and trebblofang
Tim Hawthorn: composition, arrangement, production, mixing, … basically everything else you can hear
Cover art: Will Greenwood design: Tim Hawthorn
I’m going to do a download-only release in time for Imbolc on Bandcamp.
Let me know what you think
I am very pleased to announce that the Anarchetypes new album “Just” will be released on the 23rd July 2021. This album is a bit of a wedding present of awkward songs around the theme of post-truth uncertainty. Originally conceived as a collection of solo demos, drummer Dan Poole suggested overdubbing parts via the internet during the 2020 lockdown. This is the first album I’ve produced myself from concept to cover and I wanted to bring together all the facets of my musical personality into one recording, so this goes from semi-acoustic to space punk with bits of orchestral arrangements; every song is different. The album explores the relationships between key and tempo over a series of cinematic episodes; a feature-length musical narrative runs through it that sews it all together with gossamer threads of twisted steal.
It involves the musical talents of :
Richard Mason – guitars, vox
Laura Tupker – tuned percussion, vox
Andy Roid – synths
Dan Poole – drum kit, horns
Tim Hawthorn – bass, vox, guitar, gliss, midi arrangements
Graham Clark – violin
Richard Armstrong-Sealand – theremin, vox
- White Horse – Yoo Doo Right 09:46
- Who But I? 04:42
- Nothing Serious 03:44
- Seven By Seven 06:54
- Samsara 04:40
- She Lives In A Time Of Her Own – Mining For Starlight 14:38
- Over Under Sideways Down 03:17
Tim Hawthorn: Vox, Bass
Laura Tupker: Vox, Percussion
Richard Mason: Vox, Guitar
Andy Bull: Synths & Keys
Greg Willow: Drum Kit
Recorded by Pete Wibrew at Kozfest 2016
Mixed by Tim Hawthorn with assistance from Sam Welbourne and Andy Bull
- Dangerous Thing 3:28
- Overnight (Robb Johnson) 5:28
- Blood Mother / Cailleagh 10:19
- Maid in Bedlam (trad) 4:25
- Samsara 4:40
- Dance your Dreaming Awake 3:51
- She Lives in a Time Of Her Own (Rocky Ericson / Tommy Hall) / Mining for Starlight 8:16
- Oak and Ash and Thorn (Rudyard Kipling) 5:31
This is a live solo acoustic concert recorded at Mellstock, which was organised to raise money for Help in Action
released September 23, 2016
Recorded by Sam Welbourne
Cover drawing by Earl Bramley-Howard
- Truth 05:39
- All Comin’ True 08:09
- Bad Self 05:09
- Simple Song 07:10
- Mining for Starlight 05:13
- Music Power Medicine 06:00
- Empty Space 03:20
- Uma Parvati 04:47
- Divine Mother 05:46
The morning after a crazy party on Gypsy Hill in honour of Matt Spacegoat’s birthday 1997, Dave Goodman locked us in the studio with only a stereo microphone for comfort. This is what happened.
So, friends and dear ones, here’s a thing … In the aftermath of a rather colourful party at Mandala Central Gypsy Hill in October ’97 in honour of Matt Spacegoat, ‘Dalaman’ Dave Goodman (always remembered with deep Love) ushered Tim and I down into the hallowed basement, assembled us around a microphone and said, “just do those songs you were both singin’ last night,” as he pressed the Red Button and walked back upstairs … That was 17 years ago … the resultant recording has been heard by maybe half a dozen people since (therein lies another tale, or two). On the few occasions I’ve rediscovered it over the years, I have always been struck by the energy and joy in the performances … we were flying and you could tell! The summer of 1997 was intensely potent, creative and magical for us, and this musical snapshot always seemed to me to be a distillation of that halcyon time. Dave captured and bottled the essence of the particular phenomenon that is the musical blend of Tim and myself, bless ‘im x Then I was in my 34th year, and now 17 years on I am in my 51st. (you do the …) This is the next octave of the story. Music is powerful medicine (I wrote that somewhere), and we’ve not really released our musical spells out into the world in all these years, but the time is NOW! We have survived, and this is a time of rekindling connections. There’s more than a whiff of that same magic in the air and we have ignition! We’re playing together again, and recently have been doing our thing out on the street for the first time and ‘coincidentally’ being filmed in full flow …
The full electric psychedelic boogie band experience is also back up and very much happening, with the addition of old friends and new, taking off in a field near you this summer … channels open, power’s on! Psst! here’s another thing … we’d rather be playing on the street because we want to, not because we have to. So, if you dig the music, or if you might get a warm glow from helping us to keep doing what we seem to be on this planet to do … or even both … for a fiver (or more if you feel so inspired), you can download the whole 9 song session which we’ve named
Mandala Mother here: http://timhawthorn.bandcamp.com/album/mandala-mother. Alternatively, if you still have a yen for those old-fangled CD objects, you can order Limited Edition CDs, each with Unique Hand-made Covers (may include sparkles) … message us. Music is Love, and we’re prepared to put our music where your ears is! There’s so much more to unleash … we really appreciate every drop of encouragement! Thank you for helping us get this thing in the air …
Cover art: Jo Thilwind.
released 14 May 2014
- Welcum Yule
- The Carol of the Unconquered Sun
- The Praise of Solstice
- Zummerzet Wassail
- Green Growth The Holly
- The Greensleeves Carol
- Levy Dew
- Midwinter’s Day
- The Grail Carol
- The Holly and The Ivy
- Deck the Hall
- The Apple Tree Wassail
- Celtic Prayer
Carol concert recorded live at St Dunstan’s House, Glastonbury 22nd Dec 2013. Engineered and masterminded by Sam Welbourne.Cover design: Will Greenwood, Photo: Amanda Earthwren.50% of profits go to St Dunstan’s House restoration project.
£10 incl. P&P
- Welcum Yule
- The Carol of the Unconquered Sun
- Zummerzet Wassail
- The Greensleeves Carol
- Merry Gentlemen
- Midwinters Day
- Green Growth the Holly
- The Holly and the Ivy
- The Best of Trees
- The Grail Carol
This is a selection of restored solstice carols recorded at the Assembly Rooms, Glastonbury, November 1997. These are not personal versions or parodies but restorations of the carols back to what might have been their original versions; Pagan Fertility Dance Songs. We’re still looking for the dances to go with them.
Our modern day carols probably evolved from a tradition of pre-Christian sung fertility dances, which is believed to have survived up to the 14th Century in this country. The dances are believed to have been similar in format to the branle (pronounced brawl) – Old French circle dances and Breton – style Andro or processional line dances.
There are lurid tales of debauched revelry and huge processions dancing from town to town, often lead by a naked woman. These would almost certainly be connected to the Germano – Celtic rite of Yule on winter solstice, celebrated as Saturnalia by the Romans. The Wassails come from a distinct Anglo-Saxon tradition, also connected with fertility. “Waes Heil” means good health.
Many of these versions are the work of Norman Iles, to whom I am indebted, for his lifetime’s work in searching out and restoring these songs and many others to their original meaning and form. My work has merely been to try to create performable versions of these tunes and add to the growing, living folk tradition of which we are all a very important part.
Listen here: http://soundcloud.com/timflatus/sets/carols-for-solstice/
Download here: http://timhawthorn.bandcamp.com/album/carols-for-solstice
- She Who Makes The World Go Round
- Certain Things
- Nothing Serious
- Fatherless Sons
- Mrs Unobtainable
- Cry For Me
- All Or Nothing
- White Wing
- With A Smile
- White Horse
- The Ravens Of War
- No Trouble
- Dirty Water
- Another Beginning
Original guitar and vocal studio album featuring many new songs and some acoustic re-workings of old favourites. All original compositions except Lowlands, which is a trad sea shanty AFAIK.
Listen here: Soundcloud
- Mad Mary
- Sleepy Town
- Ten Past Eight 4:32
- When the Sky falls in
- White Horse
- Hollow Hills
- Closed (Part I)
- I Want More
- Avocado Girl 4:06
- Tibetan Love
- Blown me Away
- Call it a Day (bonus)
Collection of early demos from the early 90s
- She called this place Avalon (Closed part 2) 9:06
- Hermaphrodite 10:29
- Generate 2:59
- Victory (Like being on the shores of ecstasy) 7:46
- Beauty (The Big Walkers) 3:42
- Obedience (Law of Netjer) 3:33
- Severity (Vitriol) 2:00
- Amnesia (Xotzolotl / Snow Piece) 14:32
- GoldFish (A Shaman’s Death) 5:11
- Destiny’s Natural Amusement 20:23
The Isle of the Dead is the soundtrack to the Avalonian Book of the Dead. Originally released in 1992 as part of a performance piece on the subject of death and dying, the material was remixed and remastered in 2000, including some previously unreleased material.
The pieces are based on Matthew (Dr Strange) Sleigh‘s word collages, which represented the pages of the Book of the Dead. The album follows the journey of the soul from the point of death to its dissolution into the limitless divine light.
The material was originally recorded on 4-track cassette tape at some point in 1991. The whole collection was remixed in September 2000 including radical reworkings of tracks 1,6 & 9 introducing some previously unreleased material. The whole piece was finally digitally remastered with JAMin on 23rd September 2004.
Although the greatest of efforts have been taken in the presentation of this material, there is a certain amount of noise, hiss and random clicks, the removal of which would have destroyed the integrity and ambience of the original music. It is a great pleasure to be able to present the piece in its entirity in its current form. Thanks to all who have helped along the way.
- Treppur Slim: 3 & 4 Lead Guitar
- Greg “Willow” Seeger: 1 Drum kit 2 Percussion and Acoustic guitar
- Stevie Potier: 1 Lead Guitar
- Moses Kingsbury: 1 Trumpet
- Adrian Hopper: 1 Sax
- Matthew Sleigh: 7 drum programming
- Claire Jones: additional vocals
Reading the ‘Avalonian Book of the Dead’: Sally Pullinger, Dr. Strange, Claire Jones, Lissy Freewoman, Charley Barley & tim hall.
Lowlands – traditional
Jerusalem – Hubert Parry
excerpt from Nick Harrison‘s 1973 version
She moved through the Fair – trad.
Death March – Chopin
Dig my Grave – traditional
Original concept for
The Avalonian Book of the Dead – Matthew Sleigh.
Theological corrections and spiritual guidance – Rev. Boris Gestetner.
Music & Arrangements except where otherwise stated – tim hall
Original introduction to:
The Avalonian Book of the Dead
The Avalonian Book of the Dead is a mystical text, which was found imprinted, as the result of psychoradioactive forces, on the inside of a brown paper wrapper. The paper had been used to parcel up the legendary Holy Grail. the strange glyphs and jumbled text, which appear to bear a direct relationship to 20th Century English, have fascinated scholars and antiquarians for centuries. The original is now preserved in a vacuum sealed hyper-frame at the Avalonian National Museum of Theological Artefacts, which recently celebrated its 529th anniversary with a special exhibition featuring large-scale facsimiles of the eleven imprinted sections or
pages, of the book itself.
The Book is called the
Book of the Dead because of its apparent similarity in theme and overall structure to the Egyptian and Tibetan Books of the Dead. Interpretations vary widely, however; some commentators believe it to be the rules for a highly complex board game, and at least one has suggested that it is a blueprint for Creation, which malfunctioned and had to be replaced by a better model.
There have also been arguments concerning the origins of the Book, some claiming it to be a 23rd century forgery, created to raise flagging interest in the
New Age Jerusalem of Glastonbury, which relied for its income on pilgrims and tourists. The first stories of miracles connected with the Book date from a time of economic crisis when the 10th generation hippies, who then inhabited the town, were to have their hereditary unemployment benefit cut off.
This theory may contain some truth, but it does not reduce the interest of the book itself to the general reader. The authenticity of the Reverend Boris Gestetner, founder of the Museum in 1986 and according to legend the discoverer of the Avalonian Book of the Dead, can be verified. His name appears in the court rolls for Shepton Mallet in the year 1991, when he was arraigned before the Justices for not paying his Poll Tax. It is said that his journey to the East, and his subsequent life devoted entirely to contemplative prayer, were both motivated partly by his desire to avoid the infamous Community Charge.
The text that accompanies the book is the story of the Book’s discovery by the Reverend Boris Gestetner. The story was preserved by the immortalist Edgar Bone, who died in a tragic teleportation accident at the age of 602. His effects included the present manuscript, which has been specially edited for inclusion in this volume. It is presented simply as the Reverend Boris Gestetner’s own words.
William B. Gestetner, Glastonbury, Avalonia, 23rd September 2525
The tracks below are downloadable (if you right-click the link) or streamable for free. Some of them are in Ogg Vorbis format, for which you may need to install the necessary codec if you’re a Windows user. If you would like to pay me something for them, please hit the Donate button over there on the right –> alternatively have a look at my wishlist to find out about other ways you can support my music. It’s entirely up to you, thanks!
Samsara :: An unrequited love song with a positive twist. With Will Greenwood on lead guitar.
She Who Makes The World Go Round :: This song is part of my theory that the world is really controlled by the conversations of elderly ladies over tea and scones. It has subsequently become associated with and is dedicated to the loving memory of Alison Colliyer. I wrote it for you, anyway. Recorded by Matthew Watson for the 2008 Bruton Acoustic compilation.
Celtic Prayer :: A four-part acapella setting of one of the prayers from Alexander Carmichael’s ‘Carmina Gadelica’. This recording features the voices of Oshia Drury, Jo Waterworth, Laura Iseley and Jim Peters. Recorded by Greg Shepeard at Glastonbury Studios.
Now That Spring Has Come Again :: A traditional Spring Carol to which Jo Waterworth found a new third verse.
Certain Things :: Another unrequited love song. The chorus had been nagging at me for years and eventually I made myself sit down and build a song around it. It’s really due to the enthusiasm of Nathan Lewis Williams that I bothered to record it; I’m glad I did.
With A Smile :: An attempt to write a happy song for a change. This song is dedicated to anyone who has had a really crap day today.
White Horse :: Eternally dedicated to the memory of Keira Loughlin and my Grandma. Some of the lyrics were also inspired by Silver on the Tree’s drummer, Lydia. It’s really about the White Goddess in the form of Rhiannon / Epona and that untamable feminine power that she represents.
The Ravens Of War :: Part of the piece that won me the Bardic Chair of Ynyswitrin in 2006, the theme of the contest was
Gwynn ap Nudd and he is hiding somewhere in the thicket of words if you listen carefully. It rips into everything.
Lowlands :: A song that I grew up with. Not the Anne Briggs version, which I’ve got to know more recently, but one by a 60s coffee-table folk band called the Galliards. This version is dedicated to the loving memory of Tim Woodman Sebastion and Brian Timmins, who taught me the third verse.
Dirty Water :: A protest song with a positive ending. Some things do make me *!$&£^%ing angry, I really don’t see the point in being quiet about it. If you like this song, actually, even if you don’t, please give some money, time or energy to Water Aid. ‘Nuff said probably.
Flutter is a MIDI Tone Poem realised entirely using Open Source software and recycled hardware. This is a testcard piece designed to demonstrate the capabilities of Rosegarden and Ardour using standard soundfonts and a couple of custom voices on my external D10. It is a structured instrumental piece based on the seed theme of f+f–f+f.
The flapping of a single butterfly’s wing today produces a tiny change in the state of the atmosphere. Over a period of time, what the atmosphere actually does diverges from what it would have done. So, in a month’s time, a tornado that would have devastated the Indonesian coast doesn’t happen. Or maybe one that wasn’t going to happen, does. (Ian Stewart, Does God Play Dice? The Mathematics of Chaos, pg. 141)
Flutter is based on the Koch curve and a loose implentation of integral harmonic serialism, further developed through improvisation. It is a semi-abstract piece, based on the metaphor of a fledgling learning to fly. Released under a Creative Commons license.