Discography
Over the years, I’ve had the pleasure of contributing to several original compositions, and amassed over 100k streams across all platforms through songs I feature on. I’ve contributed with bass, guitar, vocals, production, composition and even graphic design!
If you’re interested in working with me, remotely or in person…
Three Divorces
2022 to present - all elements
Three Divorces is an alternative rock band with only one member - me. In 2022, I challenged myself during COVID isolation to produce a track in a day, and the end result was “Cheap Hotel”. All currently released tracks were produced at my home studio, with live bass, guitars and vocals, and other instruments programmed with MIDI.
My goal with this project is to make lively and engaging music and stretch my creative legs by incorporating elements from various sources and genres, and challenging myself to push out of my comfort zone. Lyrical themes often range from topics that weigh heavy on my mind, to the downright absurd.
Since my last release in 2024, I am currently working on a new “era” of my sound with producer Sam Wilson, that refines the original vision I set out with, and explores darker themes and more complete sound.
AJQJ - “Watercolours” EP
2019 - bass, backing vocals
AJQJ are an indie-alternative band from Lowestoft, Suffolk. In 2017, I was asked by frontman Aaron Lambert (guitar and vocals), in reforming the band with myself alongside Cameron Thompson (drums), as a new rhythm section.
After a year of refining and rehearsing the songs that Aaron himself wrote and recorded, we refined the list down to 5 that would be rerecorded with renowned producer Tom Joy. During the recording process, taking place at Crystal Sound Studios and Tom’s home studio, the EP was named “Watercolours”. I created the artwork for the digital and physical releases, as well as it’s two singles, “Another Dose of Your Love” and “Lose My Mind”.
I recorded the bass parts of the EP using my MIM Fender Jazz bass, adapted from Aaron’s original parts played with a pick, using a mix of finger-style and slap techniques, and a variety of pedals that both myself and Tom had. The effect was a dynamic interpretation of the original recordings, that enhanced each songs meaning and overall sound. It also highlighted the tight relationship that myself and Cameron had as the rhythm section.
I departed the band later that year, and they are still active today, releasing more of the demos that we did not select for the EP, and I remain proud of the work we did together.
Like Optimists - various tracks
2017 to 2019 - bass, backing vocals
Like Optimists are an emo-alternative band from Lowestoft, Suffolk. I joined in 2016 as part of the band’s progression from bedroom project to live band. I primarily played my 5-string LTD B205 for the majority of my time with the band.
My first release with the band, “Decline”, was recorded in guitarist Aaron Lambert’s bedroom. I stepped in and helped finalise what himself and frontman Nathan Cochrane had created. Originally, the bridge followed smoothly into the ending chorus, however I proposed a new transition that added some variation and energy to the final chorus, which you can hear in the final version.
During this time we also worked on our second new song, “Devil’s Game”. The main bass part was inspired by Nathan’s playing in his acoustic demo of the song, and I used slap techniques to emphasise the up and down strokes he used. The triplet turnover was also my contribution, which felt like a driving force of giving the ending the grit it did. While recording this song, I also worked with Aaron on an updated version of their first song, “I Never Knew”, featuring a much bouncier bass line than the original, and we started on progress towards an update of “Middle of The Night”, featuring a massive 6 part vocal harmony in the bridge, which I provided the lower octaves of in the recording.
The final song I worked on was “Fake”, which was inspired heavily by punk bass playing of the 90’s and 00’s, involved a partial counter melody to guitars, which elevated the riff and invoked a feeling of depth to the groove. The bass solo in the middle of the song provides a link between the solo and ending, and allowed the song to breathe before the buildup. I played it on the higher end of the fretboard, so that when the final chorus hits, it gives more impact to the lower notes.
I parted ways with the band in 2019, and one of the songs we worked on during my time, “Loveless”, was updated and released in 2024.