Here is my cover illustration and design for the forthcoming digital publication from John Collier (and myself) about classic Doctor Who exhibitions. This time, it’s the exhibition at Longleat House in Wiltshire, and we’re focusing on 1983, and the infamous “Celebration” event which commemorated the show’s twentieth anniversary. Like our previous books, Longing for Longleat will be a free download in PDF format, available from 1st April (really!).

This cover was quite challenging, as we wanted to continue the same style as Blackpool Remembered, but showing both something which represented the Longleat exhibition and the “Celebration” event as well as fandom.

Music – streaming news

This is The Light Dreams

Having had my music on streaming platforms for a couple of years now, over the past year, I have been pleased to finally see a significant increase in plays and my work reaching new listeners in various different countries. There is now an official Spotify editorial playlist – This is The Light Dreams – for my music, so if you’re a Spotify user, likes, shares and listens are always appreciated!

Stream This is The Light Dreams

Sentient City – 2022 mix

The next album from my back catalogue to appear on streaming services will be Sentient City, which was originally composed in 2014 and released on Bandcamp in January 2015. I have given all twelve tracks a new mix, many now featuring new drum parts and other improvements in both the mix and instrumentation, which fuses rock and electronic styles.

Science fiction, architecture and the different levels of society within a big city all formed part of my thinking for Sentient City, which can be interpreted as contemporary or futuristic. This updated version of the album will be exclusive to streaming services.

Sentient City will be available on Apple Music, Spotify and Tidal from Monday 23rd January 2023.

Empire’s Child

Here is my illustration and design for Empire’s Child, the début science fiction novel by Nick Lewis.

Nick’s work has previously featured in the two Visionary anthologies published by the British Interplanetary Society, to which I also provided the cover art.

The ebook and paperback editions of Empire’s Child is now available for pre-order on Amazon.

Humanity is old. Long, long ago It re-engineered the Galaxy for its own convenience. Empires have risen, empires have fallen. Technologies close to magic have come and gone.

But the need for cabbages remains. Threnador is one of the poor agricultural worlds supplying food to the richer worlds of the Confraternity, until, one day, Time stops on Threnador. All trade with the Galaxy ceases.

A young woman, Mihana, tries to find out why. Befriending an intelligent, shape-shifting craft, she flies it across her world and beyond. Ride with her and uncover the truth behind a three-thousand-year-old chase whose consequences have shaped her life, and which has treated Threnador as collateral damage.

Alice Sabo: Station Down

New cover art! Station Down is the forthcoming science fiction novel from Alice Sabo. I’ve worked with Alice long enough now to bypass the concept sketch stage of work and just dive into the final artwork. We always enjoy a fruitful author/artist relationship, which is one of the keys to success of getting the cover art you want on the front of your book.

Legacy – coming to streaming

My 2016 album Legacy will be coming to streaming services for the first time next week (20th December).

This project was a series of improvisations recorded in response to the loss of David Bowie back in January 2016. Although the music has no direct link to Bowie, his creative ethos has always been a major driving force for me, as well as the influence of his music. The music on Legacy is dark and moody, with the main themes exploring the concepts of what might happen beyond this existence and what we leave behind.

It’s an unusual album and a cathartic project which I’m keen to be heard by a wider audience. Both the mix and the cover art have had some minor tweaks made for this release.

Cover art – previously unseen!

Here is a piece of artwork which until now, has never been displayed online. I’ve titled it “Longing” but it was in fact a book cover commission from 2015. I’m hopeful that the book it was intended to grace will eventually see the light of day, but I’ve always been particularly pleased with this piece as it is one that really epitomises my style and approach.

AI Art

AI-generated artwork has come a long way in a very short space of time. It certainly exceeds what I can do as an artist, and many others – needless to say it has caused endless debate. The results now being spewed out by the likes of Midjourney are absolutely outstanding. While it is technologically amazing, it is also quite unsettling that a computer can generate in seconds something a human would slave over for days or weeks. It’s mind-blowing stuff.

Is it a valid art form? I don’t believe so – not yet, anyway. I dare say it won’t be long until we’re seeing endless book covers created on the cheap using AI art rather than actual artists and designers. We’re also going to see “prompt wars” with people claiming ownership of the text prompts they used for the image generation, since they cannot claim copyright of the image itself. Yet such is AI at present that if two people input the same prompt in the same software, the results are always going to be very different.

At the moment, the results are often a gamble. It may produce exacty what you want, or it does its own thing and the results are not what you expected. Nothing can ever replace the touch of an artist’s hand or the workings of their mind – plus if we’re talking artwork commissions, any client would want to establish a good rapport with their artist. You can’t do that with a machine.

Of course, the obvious way forward is for digital artists to take their AI-generated images into Photoshop and work over it – no different to “photo bashing”, a method widely used by concept artists of working over photographic elements. The question of whether it is truly their work is a debate for another day. Even so, fraudsters will be inevitable, passing off AI-generated imagery as their own creation, since they came up with the text prompt. We’re likely to see a rise in “AI artists” who can’t actually draw by hand for toffee. There’s another interesting debate for another day!

I do see value in AI artwork, but I see it with more potential as a creative tool for inspiration or ideas, rather than finished work. Why let a machine suck the life, artistry and enjoyment out of something you love doing and make a living from?

In some respects it reminds me a little of David Bowie’s “cut-up” lyrical technique, which in later years he used software for. He’d feed a magazine article into the software and it would spit it back out in a new order, which he would then re-arrange into a song. This is part of the conceptual and creative process, perhaps if you’re stuck for an idea, an AI-generated image could help give you the direction for a project whether is is composition or colours.

Perhaps the biggest cause for concern is the fact most, if not all AI art pulls its styles from human artists, both living and dead. Quite simply, artwork generated in the style of say, Syd Meade for example, is still plagarism and will in some cases be in breach of copyright. We’re yet to hear of legal cases concerning copyright and AI art, but it’s likely to be a long and messy can of worms when we do.

I do not regard AI art as ‘digital’ artwork. Digital is a medium – replacing paper and paint with pixels. Digital art is still created by hand, using a stylus or finger-painted and still comes from the human mind. AI art is exactly that, and its own category which I believe will be more widely recognised as such in time.

I do accept that AI art is here to stay, and it will find its place – and it’s only going to get better. However, despite its brilliance, I’m already growing tired of it – the majority pieces have a certain look to them whereby you can just tell it’s AI – even moreso on closer inspection.

Interestingly, some conventions are now banning the display of AI-generated artwork, and I totally understand why. You want to see an artist’s work at an event like that, and in many cases, also meet the artist. Meeting somebody who came up with a text prompt isn’t quite the same.

However especially concerning science fiction artwork, this is a medium of advanced technology – science fiction in action – so it has a place. However it needs to be clearly, honestly labelled as AI-generated artwork regardless of whether the image has had any post-production.

Honesty will be key to the success of AI art.

Doctor On Display

Over the past year, I have been working with Reeltime Pictures on their new series of documentaries, Doctor On Display. Each film looks in-depth at a different classic Doctor Who exhibition. As well as being an interviewee in some of the films, I also have the pleasure of creating the DVD cover design.

The first two titles, The Museum of Classic Sci-Fi in Allendale and Longleat are now available via the Time Travel TV online store. Forthcoming titles will focus on the exhibitions in Llangollen and Blackpool. Having been heavily involved in two books on the Blackpool exhibitions, Blackpool Remembered and Blackpool Revisited, it is an absolute joy to see this series of documentaries come into being!


I never thought I would produce over 25 albums in the space of a decade. As well as a rich and rewarding creative endeavour, for me making music is also a constant learning curve. As an entirely-self-taught artist, you’re only ever as good as you can be in that moment, and what you learn in one project, you feed into the next. Every album is an adventure – a progression in skill and knowledge as well as an expansion of the musical worlds I aim to create.

I first dabbled in making music between 2006-2009, producing several rough demo albums, and a couple of slightly more accomplished works which I regard as my first ‘proper’ albums. Then I took a break for three years. My inspiration returned in 2012 and with it came a newfound direction. Having rebooted myself musically with the album Inferno, I wanted to know if I had any kind of audience out there, so I chose Bandcamp as the platform to launch and sell my work. People listened, and liked it enough to buy the album – I knew right then, my music had found a home and an audience.

As a celebration of the ten years I’ve been on Bandcamp, I thought it was time to reflect on each of those albums. I am immensely proud of many of these albums. Others would have benefited from being worked on for longer; some could do with a better mix and there are one or two I’m less than keen on. But, I guess we are always our worst critics, and it is too easy to hear flaws in our work that might only be apparent to our own ears. Sometimes I can remember making a piece of music or toiling for hours over one particular moment – yet others, I have little or no memory of creating; almost as if it came into existence by itself. Once you make an album and put it out into the world, it finds its own way, while you move on to the next project… 

Into the Light (2007)

This was the album where I established my own sound and style. This album was the result of years of being a music fan and absorbing the influence of various artists. The biggest influence of this project through, was our honeymoon in Spain; the tranquility of the Andalusian mountains and the majesty of the Alhambra Palace… that special moment in time provided something unique that I channeled into the music. It does sound like somebody just starting out; the production isn’t great and there are many flaws in the performance, but that also adds a human touch to what is otherwise a very electronic album.

Mechanical Drive (2009)

My work usually drifts between lighter, more ethereal works and darker, heavier cinematic pieces. I’m usually most content creating dark, heavy synth-laden music with a science fiction edge and Mechanical Drive was really the first in this style. I had a lot more to learn, but there are some interesting ideas on this one.

Inferno (2012)

Inferno was my first release on Bandcamp in August 2012. Returning to music with a renewed interest, this is really where my work started to come into its own. Everything felt fresh and exciting again and I can still hear that in the music, although listening to it today, it would benefit from a remix and some more refined production. Despite that, its success on release really drove me forward.

Future Worlds (2013)

Following the loss of my father, I immersed myself in making music – strangely, this darkest period of grief also became my most creative. Future Worlds was a heavily science fiction-themed album and also my first release in association with the Initiative for Interstellar Studies. Each track was inspired by a different scenario or a classic SF book. It was perhaps a little over-ambitious and musically it could do with better production and less going on, but it remains one of my most popular releases on Bandcamp.

Beyond the Boundary (2013)

Following the release of Future Worlds, I started working on two new projects simultaneously during the summer of 2013. Beyond the Boundary was my second release in association with the Initiative for Interstellar Studies, and this time the concept of the music was all about space travel. It built on the style of Future Worlds, combining orchestral and electronic and was released to tie-in with a book of the same name published by the Initiative later that year.

Traces (2014)

This was the one. At the time, Traces was the culmination of everything I wanted to achieve musically, and its popularity on release affirmed that. It was a very personal project, reflected in the melancholic and nostalgic tones of the music. There was also nostalgia in the sound – it makes heavy use of the Korg M1 and Wavestation synths heard on so many albums in the late 1980s and 1990s. A lot of influence also came from the books I was reading at the time, with authors such as Christopher Priest and Haruki Murakami. I also released a free companion album, Traces Abandoned, comprising the other tracks I was working on which didn’t make it to the final album.

Future Worlds Redux (2014)

This was a fun project – I decided to rework the majority of Future Worlds into an orchestral/symphonic album, not unlike a film soundtrack. Some of the tracks really benefitted from the new arrangements.

Sentient City (2015)

Another science fiction album – this time with a dystopian edge, the concept being about life in a futuristic city. Yes, we’re firmly in Blade Runner territory! I really like this album, but feel I should have spent longer on it, with better mixing/production and perhaps included fewer tracks.

Panorama (2015)

My third release for the Initiative for Interstellar Studies was based around exploring alien planets. I was trying for a slightly different approach with Panorama, and in hindsight, it doesn’t work quite so well despite having some nice moments. Again, I had been working on two different projects simultaneously and this one maybe suffered a little through that.

Timeshift (2015)

Timeshift was my unofficial follow-up to Traces and was based on the theme of time passing. I really like this one and think it contains some of my best pieces. This was the project where I really elevated my production and mixing.

Dark Corners (2016)

Dark Corners is a collection of demos and leftover tracks from recent projects. This is very much a musical sketchpad than an album; ideas that had potential for further development. I offered it as a free download.

Legacy (2016)

This project was my way of dealing with the death of David Bowie. It was so hard to believe he was gone. I just sat down and started playing and within a few weeks had enough for an album. This was a quick but cathartic project. Legacy is a very dark album with its own distinctive mood.

Remnants From A Lost Time (2016)

Another very quick album – this one was a series of improvised ambient pieces, recorded in just one week. It was conceived as music to play while out walking in the woodlands and countryside, but one that also looked at the passing of time (another recurring theme). There’s something really unusual about this one and is my most ambient and experimental work to date.

Infinity of Space (2017)

My fourth and final (to date) album in association with the Initiative for Interstellar Studies. This was a difficult album to mix and I’m still not happy with how it sounds. By the end of the process, I really didn’t like it at all. However it does include two tracks featuring a friend on guitar, and his work really takes the music somewhere else – I’ve always felt very proud of those two tracks although I can’t take any of the credit!

Back Into the Light (2017)

Another personal favourite and one of my most accomplished albums. I composed this album to celebrate ten years since Into the Light. I wanted to return to the world I created with that first album and explore it some more. Back Into the Light is an album of dark and light shades, but with a more optimistic, mysterious and worldly feel.

Crossover (2018)

This album really represents my love of artists such as Mike Oldfield and Jean-Michel Jarre. In a nod to the instrumental concept albums of the 1970s, I wanted to create an album of continually evolving music which also tells some kind of story. The end result was three 15-minute long tracks. I was very happy with the overall sound and production and flow of the music. I wanted Crossover to play like a dream; crossing from one realm to another and something not unlike a video game soundtrack. Video game music has always been a big influence on my work, so that is celebrated here. Crossover is my most ambitious and complex work, but sadly one that never received much attention.

Prototype (2018)

Prototype is unusual in that it is an album mostly made of ideas leftover from previous projects. Unlike Dark Corners, I gave the tracks more of a polish (though still leaving the production quite raw, mistakes included, so not to lose the spontaneous energy) and also composed some new tracks to fit in. I think there are some really interesting ideas on here.

Mutate (2019)

Created during another period of grief, Mutate is another dark and cinematic album with a sci-fi influence. Fusing together rock, electronica and industrial styles, I was trying (perhaps too hard) to make a heavy, angry-sounding album, and it was very difficult to mix, and I’m still not happy with the first half of it. However the second half of Mutate has some strong material I’m really pleased with.

Chiaroscuro (2020)

Another one of my personal favourites, and an album largely inspired by traveling through European cities. Travel has always been a big musical inspiration for me, and although it was another difficult project to mix, I regard it as one of my best works, and also one where I tried out some new musical direction. Chiaroscuro is one of those albums that sounds best played late at night.

The Ministry of Machine Building (2021)

Another dark science fiction concept album, but for me, this one really succeeds conceptually, musically and in the mix. Right down to the red/black cover art, Ministry sits perfectly alongside Prototype and Mutate. Maybe this was the album I was working towards in this kind of style and concept.

Aspects (2022)

An artist’s latest work is always their favourite and that is certainly true of Aspects. Although not composed with any kind of concept, the songs all came together during different points of the various lockdowns at the height of the pandemic – yet they had a common sound and worked well together. I also wanted to return to the world of Traces a little, so I used some of the same sounds that had created that album’s distinctive atmosphere and the result was something that really affirmed this is where I want to be, musically and perhaps what I do best.

Although my music is on streaming services, I still regard Bandcamp as the main platform for my music, and that’s where you will find my full discography – although frustratingly in recent years, the rise in popularity of Spotify et al, has more or less sucked the life out of Bandcamp. The albums I have chosen to distribute on streaming services are those that I feel are my best work, but that should be at no detriment to the others – there’s something to discover on every one, and on the rare times I do listen back to my older work, it’s always rewarding when something surprises me.