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First Listen: ‘Cloisters’ by Charlie Coxedge

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The track is called Cloisters, and the video really suggests those different spaces, both hidden and open, obvious and subtle, that we ourselves, as well as our surroundings, create.”

—Charlie Coxedge

Words: Mark Carry


The exclusive music video premiere of ‘Cloisters’ displays the sublime guitar-based, solo instrumental work of Money guitarist Charlie Coxedge. Directed by Dan Jacobs (who also directed the gorgeous Money single ‘Bluebell Fields’ depicts slowly fading background colours whose shadows and rich textures create a wholly meditative, far-reaching effect. The gradual bliss of pristine guitar tones gently shimmer, echo and seep into one’s heart and mind, akin to the ebb and flow of ocean waves. The stunningly beautiful new track ‘Cloisters’ is the title-track of Manchester-based Charlie Coxedge’s forthcoming debut solo EP, coming out on Bella Union (26th May 2017).

Previously, we were thrilled to premiere Coxedge’s solo guitar work Corrour’, a divine instrumental that continually builds – and evolves – beneath intricately layered guitar tapestries. The six-track ‘Cloisters’ EP contains ‘Corrour’ in addition to the deeply immersive piano lament ‘Holly’ (as the fitting finale), the sprawling, monumental guitar work ‘Be’, a duet for piano and guitar (the achingly beautiful ‘Pentreath’) and joyous rhythmic pulses of ‘Dust’. In similar fashion to Julianna Barwick’s looped harmonies or Peter Broderick’s songbook, Coxedge’s debut solo work achieves complete transcendence with its stunning beauty and captivating spell.



‘Cloisters’ by Charlie Coxedge

Video by Dan Jacobs

‘Cloisters’ EP is released via Bella Union on 26th May 2017

To Pre-order ‘Cloisters’ EP:


Interview with Charlie Coxedge.


Congratulations on the utterly captivating solo guitar works of ‘Cloisters’. First of all, please talk me through the various layers – and counterpoints – to the glorious title-track? I just love how there is this close dialogue between all these intricate patterns of guitar melodies; like an ode to Reich’s ‘Electric Counterpoint’. Please shed some light on the album title too and the significance?

Charlie Coxedge: The title came after thinking about various structures and spaces. I think I just liked the idea of these hidden / covered spaces, usually around the edges of something else. They can be very reflective places, both in terms of sound and feeling, and I think that suited the music as various ideas can start quietly, then end up bouncing back and forth, and that movement within the space and structure can create more and more new ideas in turn.

The track Cloisters itself came from trying to slow down a bit, and not to over compensate for the lack of different instruments around. I had the title in my head and tried to imagine the various melodies reverberating around these cathedral-like spaces, so just having a clean tone to the music and uncomplicated phrases was important.

Can you discuss the making of the gorgeous music video of ‘Cloisters’ and the process involved? The meditative quality of the visuals matches perfectly the hypnotic guitar passages and the shades, textures and atmosphere created, in turn, heightens both mediums.

CC: All credit for the video must go to Dan Jacobs who did the the video for Money’s Bluebell Fields ( and aside from being a brilliant animator, he also makes music in various projects – glad hand, makeness, aeva). The only idea that he took from me was the slowly fading background colours, which I’m sure he would’ve done anyway! He definitely captured something great that really reflects the track – the way the different shapes and shadows, which seem fixed yet fluid at the same time, create more space, and more spaces in between. The track is called Cloisters, and the video really suggests those different spaces, both hidden and open, obvious and subtle, that we ourselves, as well as our surroundings, create.

Further on from the visuals, can you discuss the visual aspect of your guitar-based compositions and how your compositional approach has developed or evolved over the last few years? 

CC: The compositional approach, for me, is pretty much always about getting a certain feeling out. I suppose by not writing lyrics, the sound and atmosphere of what I’m playing has to evoke something almost immediately to make sure it’s an idea worth pursuing. The music definitely has a visual aspect, it’s hard to put into words exactly, but I suppose with the looped / cyclical nature of the tracks it’s easy to see patterns emerge and evolve.

I wonder have there been any happy accidents or beautiful imperfections so to speak that found its way on the ‘Cloister’ recordings? It feels like you are playing live in a room, is there much overdubs or manipulation done after these takes? Also, I get the sense from just how pristine the guitar sounds radiate throughout that the mixing stage may have been the most time consuming part (of the process)?

CC: There are definitely some happy accidents throughout the EP; creaks of the piano stool, certain sounds that we just found in the studio etc. At the beginning of the track Cloisters you can hear the creaky floor and my feet stepping on the pedals that start the loops going, which we thought would be nice to leave in as, like you said, it adds to the feeling of being in the room, and creating that intimate atmosphere is definitely something I’m always aware of when writing / recording.  The two shorter tracks that end each half of the record (Pentreath and Holly) could both be said to have been happy accidents. Pentreath was written and recorded almost immediately after coming home from my grandfather’s funeral, Pentreath was the name of my grandparents’ house in Cornwall. The track came together very quickly, the guitar was just one take – as you can probably hear it has a kind of improvisatory tone to it, but I really liked it because of that, and I think I managed to capture a feeling without labouring over the track or reworking it too much, which I’ve done in the past. The last track, Holly, was a complete accident really – I was playing the piano at my parents’ house and recording some ideas on my phone when our cat Holly came and sat on the stool with me and just started purring, which the recording picked up. Luckily what I was playing wasn’t terrible, and when heard on headphones is a really warm sound, so I thought it would make a nice last track.

The bulk of the music is all recorded live. The guitars are just me in a room with various loop pedals going to a few different amps, and a few different mics placed around the room, so that we can capture the various tones and blend them together to get the best balance, and make sure the separate layers of the loops can always be heard. The keys/piano are then recorded on top. I have a few go-to synth pads that I always use, but we did spend some time with different synths in the studio, as well as capturing the upright piano, to make sure that imitate, in-the-room feeling is always there. When it came to mixing, because we’d worked on capturing the right tones and sounds in the recording, the mixing was actually fairly straightforward.

The album’s penultimate track ‘Be’ is one of the towering achievements. I would love to gain an insight into the story behind this particular song and how long has the track been forming in your head? The way the piece evolves and forever navigates new dimensions is a joy to savour. 

CC: Be was definitely a track I laboured over and reworked a few times, and the end result is a combination of two or three separate ideas that found themselves working together. Working with loops, normally you record one thing and build on top of it, it’s hard to subtract anything once the loop is going. This track came from having that initial loop fade away underneath the new ideas being recorded, so there is this rolling, evolving feel to it. Eventually, then, it gives way to new ideas that fill the gaps in the older ideas, creating a kind of organised clutter of things bouncing off one another. The initial writing of it came after I saw a remarkable live performance of Music for 18 Musicians, the flow of the whole piece and the transitions between sections was incredible and massively inspiring.

Please discuss the composers and musicians you feel have been the most significant voices for you when it comes to your solo path?

CC: We’ve mentioned Steve Reich already, and his work has been hugely influential, as well as his contemporaries like Philip Glass, Terry Riley etc, to composers like Arvo Part and John Tavener. Film soundtracks are a big inspiration for me too, I loved Alex Somers’ work on Captain Fantastic and Johan Johansson’s soundtrack for Arrival was amazing.

More recently I’ve been listening to Kaitlyn Aurelia Smith, Luke Howard, Bing & Ruth, (as well as some great music coming from Manchester lately) but I suppose there are artists that I always return to who have been hugely significant to me – Jonny Greenwood/Radiohead, Sufjan Stevens, Bjork, Brian Eno, Elliott Smith amongst others – and then other artists like Nils Frahm and Julianna Barwick have been really inspiring both in terms of the music they make and their approaches to recording, performing, collaborating etc etc.

‘Cloisters’ EP is released via Bella Union on 26th May 2017

To Pre-order ‘Cloisters’ EP:




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May 3, 2017 at 11:30 am

Track Premiere: Charlie Cocksedge (Money)

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It wasn’t long after I started playing guitar as a teenager that I got my first delay pedal. My brother then gave me a copy of ‘Loveless’ by My Bloody Valentine, and a whole world of guitar noise was opened up to me!”

—Charlie Cocksedge



MONEY comprise Jamie Lee, Charlie Cocksedge, Billy Byron and Scott Beaman. They formed in Manchester and embody the passion, creativity and optimism of a new generation of artists and musicians from there. “It’s an extraordinary, poetic city,” frontman Jamie says, “You feel like you can do anything here”.

The exclusive track premiere of ‘Corrour’ displays the guitar-based, solo instrumental work of Money guitarist Charlie Cocksedge. Having performed a live score for a short film last summer, the next step was to record these multi-layered, ethereal musical compositions to tape, which thankfully took place in a Liverpool recording studio a short time later.

Corrour’ opens with warm fuzz of guitar noise, sharing the shimmering beauty of an ocean’s irresistible glaze during first light. Some moments later, soft clean guitar notes serve the vital pulse to the composition’s aching core. Beauty – unimaginable and divine – unfolds as endless layers of sublime sonic bliss ascends into the surrounding atmosphere.

A rich tapestry of enthralling soundscapes is masterfully crafted by Coscksedge; the dreamy shoegaze sound of My Bloody Valentine is inter-woven with the ambient touchstones of the Kranky and Thrill Jockey back-catalogue amidst indie luminaries such as Yo La Tengo and Tortoise’s Doug McCombs. Towards the song’s euphoric crescendo – some six minutes in – a wall of soaring guitar melodies ebb and flow into one glorious cohesive whole, reminiscent of Slowdive’s ’91 debut ‘Just for a Day’. Money frontman Jamie Lee has previously explained how Money’s desire “is to create the world afresh on our own terms”. This is precisely what ‘Corrour’ achieves with its stunning beauty and captivating spell.


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Interview with Charlie Cocksedge (Money).

As part of the incredible quartet of Money, the deeply affecting debut album ‘The Shadow Of Heaven’ is a very special and enlightening record. Please discuss the creative process involved and indeed the collaborative process between you, frontman Jamie Lee and Billy and Scott? It must have been an enriching space in time to have witnessed these songs bloom into their finished entities during the course of the band’s recording sessions?

Charlie Cocksedge: ‘The Shadow of Heaven’ evolved over quite a long time. One of the first songs we wrote was ‘Letter to Yesterday’, but that is pretty much the only song that we’ve kept from those early periods, the rest were heavily worked and reworked over time through gigging and demoing. However there was also a lot of experimentation in the studio. In the end, the collaborative and creative process was different for almost every song on the album, but at the same time we worked hard to ensure the songs didn’t sound disparate, and that it flowed and progressed as a whole record.

Congratulations on the stunning guitar-based instrumentals. The compositions possess an ethereal dimension as a rare beauty unfolds with each and every note and sculpted sound. Please discuss this solo venture of yours and the period of time in which these new tracks emerged from?

CS: Thanks very much. These tracks mainly came about in between touring with the band during 2014. I’ve always been doing little compositions for fun aside from Money, and in the summer I got to perform one of them as a score for a short film for an event at Manchester Art Gallery, and shortly after that I had my first solo show. So those things pretty much forced me to actually finish these tracks and work out how to play them live, which I really enjoyed. The natural step then, after putting a live set together, was to record.

How do you see the correlation between Money (and particularly the live tour of ‘The Shadow Of Heaven’) and these solo works? I can imagine you have been crafting gorgeous guitar melodies such as these for a significant part of your life (as it’s something that feels so organic, rich and highly emotive)?

CS: It might not be immediately obvious, but yes there’s definitely a correlation between the two. I’ve always been a bit of a collector of effects pedals, and have used them subtly within Money to enhance our sound, both on record and live – making loops, drones etc – but with this solo work I really get to expand on that, and a lot of the music comes from just playing around with different sounds. It wasn’t long after I started playing guitar as a teenager that I got my first delay pedal. My brother then gave me a copy of ‘Loveless’ by My Bloody Valentine, and a whole world of guitar noise was opened up to me!

Please talk me through the spellbinding ‘Corrour’. What is the recording and layering process utilized when recording these beautifully soothing soundscapes?

CS: The track came from just playing around with a loop pedal in my bedroom at my old house (the house was called Corrour). I came up with the main melodies there, working out how they would intertwine, and then developed the track as a whole in our practice room in Manchester. I recorded it in a studio in Liverpool with a guy called Tom Roach, which was really good fun. I’d only ever been in a studio with the band, so it was a bit scary but also exciting. The recording process itself was fairly easy; I’d already worked out how to play everything live, so Tom and I just worked on how to separate the layers and different ideas in the most effective way for recording, and then tried out different instruments for certain parts so it wasn’t entirely guitar. I love playing live, but at the same time this music is really suited to headphones and home listening, so that is always in the back of my mind while recording.

What composers and artists do you feel have inspired your guitar-based solo works? 

CS: I’ve always been a fan of Steve Reich and Philip Glass, I love their different styles, and the different nature of their music has certainly had an effect on me. I recently got to see Jonny Greenwood perform Reich’s Electric Counterpoint, which was truly inspiring. Jonny’s film scores have influenced me a lot as well, particularly the way he uses instruments in an unconventional way – scratching the violin strings or using cellos as percussion for instance. More recently I’ve been listening to Dan Deacon and Nils Frahm – two amazing performers who both create huge soundscapes onstage, while also having moments of quiet beauty.




‘The Shadow of Heaven’ by Money is out now on Bella Union. Charlie Cocksedge’s solo guitar works is a forthcoming release.




Written by markcarry

March 10, 2015 at 2:46 pm

Fractured Air 13: Seeing Things (A Mixtape by Cillian Murphy)

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Fractured Air 13: Seeing Things (A Mixtape by Cillian Murphy)

To listen on Mixcloud:


01. MONEY ‘So Long (God Is Dead)’ [Bella Union]
02. Neil Young ‘Out On The Weekend’ [Reprise]
03. The National ‘Hard To Find’ [4AD]
04. The Flaming Lips ‘Waitin’ for a Superman’ [Warner Bros.]
05. Arthur Russell ‘That’s Us/Wild Combination’ [Rough Trade]
06. Kevin Drew ‘Good Sex’ [Arts & Crafts]
07. Airhead ‘Wait’ [R & S]
08. Bobby Womack ‘Deep River’ [XL]
09. Röyksopp ‘Daddy’s Groove’ [LateNightTales]
10. Julianna Barwick ‘Call’ [Suicide Squeeze]
11. John Martyn ‘Small Hours’ [Island]
12. Bill Evans ‘Peace Piece’ [Riverside]
13. Vincent Gallo ‘Yes I’m Lonely’ [Warp]


“Seeing Things” is a special mix made by Irish actor Cillian Murphy. At this summer’s Galway Arts Festival, Cillian Murphy will re-unite with playwright Enda Walsh for the production of ‘Ballyturk’, co-starring Mikel Murfi and Stephen Rea. Previously, Walsh and Murphy worked together on ‘Disco Pigs’ (1996) and ‘Misterman’ (2011).
‘Ballyturk’ will run at the Black Box Theatre, Galway from July 10—27 as part of the 2014 Galway Arts Festival. The play will later transfer to London’s National Theater where it runs for a five-week season at the Lyttelton Theatre on September 11, and runs until October 11, 2014.
This Autumn Cillian Murphy will reprise his role as Thomas Shelby in the second season of BBC Two’s period drama ‘Peaky Blinders’.

For Cillian’s recent interview with Julia Holter, please click HERE.


‘Ballyturk’, the new play written and directed by Enda Walsh starring Cillian Murphy, Mikel Murfi and Stephen Rea, will premiere at the 2014 Galway Arts Festival this July.


To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.


Fractured Air 10: Sleeprunner (A Mixtape by MONEY)

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To listen on Mixcloud:


01. The Beach Boys – Our Prayer
02. Björk – Earth Intruders
03. Dan Deacon – Prettyboy
04. Pixies – Vamos
05. Portishead – Machine Gun
06. Jonny Greenwood – Able-Bodied Seamen (‘The Master’ OST)
07. Dirty Projectors – Two Doves
08. Fun Adults – Peek and Punch
09. Warpaint – Composure
10. Bill Wells Trio – D.A.D.E.
11. Talk Talk – Ascension Day
12. Outfit – Two Islands
13. Illum Sphere – Sleeprunner
14. John Rutter – Requiem – Lux Aeterna
15. The Velvet Underground – Heroin


“There isn’t much of a theme with the mix, just a bunch of music, old and new, that we/I like.”
(—Charlie Cocksedge, MONEY)

Manchester four-piece MONEY comprise the immense talents of Jamie Lee, Charlie Cocksedge, Billy Byron and Scott Beaman. Prior to last year’s stunning debut full-length ‘The Shadow Of Heaven’, the band had already built a considerable reputation for themselves through both their celebrated live shows and the release of debut single ‘Bluebell Fields’ and it’s follow-up ‘Hold Me Forever’ (the video was the directorial debut by actor Cillian Murphy). Signed to prestigious London-based independent label Bella Union, the band’s unique, intriguing sound is best surmised by Bella Union founder Simon Raymonde: “They’re interesting people with a lot to say, and the live shows fascinated me. They were so extravagant and thoughtful, so rare in a new band.”


“The Shadow Of Heaven” is available now on Bella Union.

MONEY perform at Heaven London, on 20th February 2014.


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January 30, 2014 at 11:16 am

Ten Mile Stereo

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A selection of some of the albums we’ve been listening to lately. 

Boards Of Canada “Tomorrow’s Harvest” (Warp)
In today’s day and age you may be forgiven for thinking the days of the “eagerly awaited” album is a thing of the past. However, Warp’s legendary Boards of Canada’s “Tomorrow’s Harvest” has easily been the most hotly-anticipated album in a long time. The resulting seventeen tracks presented on the “Tomorrow’s Harvest” cut confirms the legendary status of Mike Sandison and Marcus Eoin’s Boards Of Canada, the Scottish electronic duo who have become a genre onto themselves at this stage.


Justin Walter “Lullabies & Nightmares” (kranky)
One of the true musical treasures this year so far has been Brooklyn-based (born in Michigan) composer Justin Walter’s debut LP “Lullabies & Nightmares”. An album which has all the hallmarks of a work of art which has been painstakingly created over many years. In Walter’s words: “”I set out to record an album of completely improvised music that fused my experiments with the Electronic Valve Instrument and my love of held sounds on the trumpet.”


John Lemke “People Do” (Denovali)
This July marks the release of John Lemke’s debut album “People Do”, a stunning selection crossing genres at will – encompassing all the beauty and artistry of the neoclassical realm while embodying the cool charm and electronic textures of the best in the ambient/electronic scene. Born in Berlin, Lemke currently resides in Glasgow. The album is mastered by Germany’s Nils Frahm at his Durton Studio. Also essential is Lemke’s “Walizka” EP, a digital only release to anticipate the debut full length which will be issued by the constantly innovative German-based Denovali Records.


amiina “The Lighthouse Project” (Sound Of A Handshake)
If someone wished to find a single album to demonstrate the magical quality only music can capture (and impart) look no further than Icelandic sextet amiina’s current collection “The Lighthouse Project.” Recorded live, the album recalls the inimitable charm of early Tiersen compositions. Also features a beautiful cover of Lee Hazelwood’s “Leather and Lace”. Available on Morr Music’s Sound Of A Handshake imprint.


Áine O’ Dwyer ” Anything bright or startling?” (Second Language)
Released by London-based Second Language at the beginning of June, “Anything bright or startling?” comprises a song cycle of fragile beauty and ambitious scope recalling the likes of Joanna Newsom and Nico. O’ Dwyer is a firmly established harpist and collaborator (Mark Fry & The A Lords, Cloisters, Piano Magic) while a collection of church organ études, “Music For Church Cleaners”, comprised O’ Dwyer’s first solo recording.


Anika “EP” (Stones Throw)
Follow-up to much talked about debut self-titled album by Anika, produced By Portishead/Beak’s Geoff Barrow. The EP comprises an array of incredible covers (featuring The Kinks’ ‘I Go To Sleep’ and The Crystals/Phil Spector classic ‘He Hit Me (It Felt Like A Kiss’). Aesthetically, Anika’s music takes much influence from the vintage past where the spirit of Nico particularly haunts. The highlight for me is Anika’s bold take on the Chromatics classic “In The City”, where Johnny Jewel’s über cool hit gets wonderfully deconstructed.


Lucrecia Dalt “Commotus” (Human Ear Music)
I first came across Barcelona’s Lucrecia Dalt from her track “Silencio” where Julia Holter adds harmonium. Released by Berlin’s Human Ear Music label, “Commotus” is an album of breathtaking imagination which reveals more and more on every visit. Similar in style to such labels as RVNG INTL (Holter, Herndon) and free spirits as Dirty Beaches and Nicolas Jaar, the album reveals such diverse influences as Enio Morricone, Brian Eno, Moondog and Julianna Barwick.


I Am The Cosmos “Monochrome” (Self-Relelased)
“Monochrome” is the debut LP from Dublin dance/electronic duo I Am The Cosmos. The album comprises an irresistibly cool, New Wave inspired late night collection recalling the many delights on the Italians Do It Better label (Chromatics, Symmetry, Desire) plus such acts as New Order and Junior Boys. A fine array of synths, drum machines and groove-heavy bass lines combine with an effortless pop sensibility and a keen penchant for melody.


Date Palms “The Dusted Sessions” (Thrill Jockey)
Chicago’s Thrill Jockey label (home to such artists as Mountains, Stygian Stride, The Sea And Cake) issued “The Dusted Sessions” at the beginning of June. Comprising principally the duo of Kranky ambient man Gregg Kowalsky (keys, electronics) and Marielle Jacobsons (violin, flute, electronics), Date Palms effortlessly navigate a dust-swept American West across its seven pieces – recalling such luminaries as Laurie Spiegel, Ry Cooder and Alice Coltrane in the process.


Money “The Shadow Of Heaven” (Bella Union)
Money’s debut full-length album won’t be out until August 26th, so in the meantime we can still marvel at the Manchester four-piece’s debut single release for Bella Union – “Bluebell Fields” – an irresistible gem overflowing at the brim with effortless hooks and timeless melody. Prior to the Bella Union LP “The Shadow Of Heaven” comes the single “Hold Me Forever”.


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June 12, 2013 at 10:20 am