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Videos in this player

1. Lullaby by Edge Effect and Syntheticdarkness for The Method Learned.
2. A Ghost at Netley Abbey - Live at Awakenings (Video by Phil Booth)
3. A Ghost at Netley Abbey (Featuring Syntheticdarkness)
4. Descent into The Underworld - Live at Awakenings (Video by Phil Booth)
5. Fallen Angels - excerpt
6. Derelict - excerpt (camera by Sarah Checksfield)

Sunset in The Dark Forest by Edge Effect can be heard on the Awakenings 2008 volume 2.5 CD/Download from Ambientlive.

The price is £7.95 for CD-R, £7.99 for MP3, & £8.99 for FLAC.

I’ve been producing electronic music and sonic arts under the name “Edge Effect” for more years than I’m prepared to count. Since 2003, I have also been working in the field of still and moving imagery. I have performed live sound tracks to my video/photographic material at various events in London, Bristol, Burton on Trent & Swindon I've also contributed to various gallery exhibitions in Swindon.

Since the widespread application of electronics in music, the music that has been produced has become something that producers painstakingy create in a piecemeal fashion in private, without ever entering into a direct dialogue with their audience. As much as possible, I want to return to the "pure" state of live performance, to create true interaction between myself, my work & the audience.

Even in this "golden age" of music, there was a stage in the process where the composer worked on a score in private. This is no different to my vision of how electronic music is created: Edge Effect is partly improvised, but pre-preparation also plays an important part.

I’m trying to blend high-art sensibilities with Punk Rock's do-it-yourself ethic. Rather than employing the very latest technology, I use whatever equipment I can obtain with my limited resources, this gives my work something of a "rough-edge" that I think I prefer to the highly polished work of other artists.

My methods of creating electronic music are a blending of avant garde & more traditional techniques. I reject the current academic philosophy of seeking to control every aspect of timbre, instead I'm more of a "synthesiser hacker", allowing sounds to grow organically by a process of improvised adjustment of parameters. I tend to employ conventional scales, chords, keys, & modes but my work tends to be devoid of rhythm & melody, focusing instead on evolving, dark-ambient textures. It's almost as though I'm painting pictures with sound: each piece is a window into an imagined landscape, hanging frozen in time. Originally, Edge Effect grew out of my involvement with Thee Temple Ov Psychick Youth, & as such it seeks to act as a gateway from the limits of everyday experience into a magical inner world where dreams can be made real.

I find myself rather disappointed by a great deal of the digital art that I encounter. To me, it tends to concentrate far too much on the idea of championing the medium without enough concern for any “message”, content or “feeling”. It’s always been an aim of mine to produce work that reverses this trend. To create, perhaps, a digital-romanticism.

Commercially, I work as a web designer, a producer of audiovisual material, and a consultant to other artists and groups.

This profile was edited using the profile editor at Darkspace Graphics and then tweaked extensively by hand.