GRAHAM REYNOLDS

'A fantastic player that adds a muscular edge to the rich tones he pulls out of his instrument... capable of stretching all manner of sonic boundaries.' 
Jazz Times

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Austin-based Graham Reynolds is anything but your stereotypical composer, more a fully qualified mad scientist of bold and uncompromising music, and a left field creative blur (he once smashed up a piano in the desert), weaving and recombining strands of post-rock, electronica, jazz, chamber classical, Americana, and vintage rock for unusual juxtapositions.

Reynolds works in extremes, he's collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. His Golden Arm Trio are never three and never the same people twice.

He is Richard Linklater's (Slacker, Dazed And Confused, School Of Rock) go-to guy, who said of Reynolds' ability that 'he can do anything'. Reynolds has scored films such as Before Midnight, Bernie and Linklater's landmark film adaptation of Philip K Dick's sci-fi novel A Scanner Darkly, the original soundscape to which - full of short itchy and scratchy sound bites; a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair - was released on vinyl for the first time on Fire Records in 2017.

Reynolds also creates music for theatre and dance. His movie and TV credits are regularly cult and quirky, a cavalcade of offbeat moments that jar purposefully next to his pieces for Ballet Austin's Grimm Tales and Poe/A Tale Of Madness. Along the way he's grabbed a few gongs on the mantelpiece, he digs 'crime jazz', nods to the Duke, loves a minor country chord, and even wrote a concerto about cog wheels and crank handles. He continues to work on a bi-lingual opera called Pancho Villa From A Safe Distance... gotta fill your time. All this while a multimedia collaboration with Kronos Quartet's Jeffery Ziegler, The Sound Of Science, tours internationally.

He likes tension, as he circumnavigates the boundaries of what and how we should be listening - who else could make Music For Forklift Danceworks, or evoke the terror-stricken foggy streets of Jack The Ripper-era London with consummate expertise for his playfully sinister and modern re-imagining of Hitchcock's The Lodger, as part of Fire's Re-Imagined soundtrack series in 2020?

'For director Richard Linklater alone, Reynolds has been heartsick and wistful (Before Midnight), tense and suspenseful (A Scanner Darkly), jaunty and blithe (Bernie).'
Texas Monthly

'A rare talent.' 
Pop Matters

'Rich and inventive.'
Variety

'A long-time piano-playing favourite, his extensive accomplishments in film, theatre, dance, film and television speak for themselves before you first spin his music.'
KUTX

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DAISY CHAPMAN

An atmospheric, articulate, and strikingly raw and full blooded acoustic set from well-travelled anti-folk vocalist and 'Nymanesque' pianist Daisy Chapman. Considered 'one of Britain's finest songwriters' (R2 Magazine) every song harbours a dark lyrical story of love, lust and loss - think Neil Hannon meets Leonard Cohen meets Regina Spektor.

Daisy has performed as part of Crippled Black Phoenix (with members of Portishead and Hawkwind) and is also as lead vocalist for new prog outfit Venus Principle (with ex-Crippled Black Phoenix members). She has played extensively across the world, including festivals such as Glastonbury, 2000 Trees, Breminale Germany and Migration Festival in Taiwan. Her fourth studio album, She Took Flight, offers a more ethereal, even film score tone than her previous releases, but maintains her soul and warmth.

'Instantly captivating.'
The Independent

'An enchanting work between chanson and classic songwriting.'
Rolling Stone Germany

'Enchanting, challenging and stirring stuff.'
Venue Magazine