home

The Womb began in 1998 in the remote English village of Little Clacton, when I assembled a group of musically-frustrated schoolfriends in my family’s backyard caravan, and we attempted to create something original as an alternative to the death cries of Britpop and relentless speed-garage dominating the soundtrack to our youth. We survived a near-fatal car crash immediately after forming, cementing our feelings of youthful invincibility. We then recorded and released our debut album, the lo-fi electro-rock of ‘Anthems For Doomed Youth’, as a free download.

As our schooldays ended and band members drifted apart, I relocated to Colchester in late 1999 and established The Womb as a solo electronic act while experimenting with potential future directions. I met angel-voiced busker Chloë Reeves at Essex University in the autumn of 2000, and following a brief affair, we formed an enduring friendship and musical partnership.

Two years of university-based adventures culminated in my electronic album ‘The Oblivion Suite’, after which I focused my attention on collaborating with Chloë. We released a string of DIY singles on CDRs and sold our genre-hopping songs at parties, most notably the techno anthem ‘Shot Through You’ and the sad soul-pop of ‘The Dusty Groove’. The album ‘Dark Night Out’ followed in 2004, fusing my experimental electronica with Chloë’s more melodic approach.

As our songwriting skills continued to improve, Chloë took on a more prominent role and we began working on a definitive album for her voice and personality. We released ‘Britpop’, a stylistically-diverse record of painfully personal songs and our best work so far, in 2006.

In 2007, Chloë left England to pursue solo dreams in Mexico, leaving me to re-adjust to making music alone, now living in Bath. The album ‘Karaoke Hometown’ was inspired by frequent returns to my teenage stomping ground of Torquay, where I recorded my subsequent two albums following the end of a seven-year relationship in 2008. 'Invisible Women' and 'Halfway Between Moscow And Paris' included some of my best songs to date as I learned how to achieve the sounds I wanted to hear on my own.

In 2009, I found myself in Milton Keynes and collaborating with another musical partner, singer-songwriter Junalyn Corre, with whom I recorded three albums in one intensely productive year. The starkly personal 'Echo Chamber' was quickly followed by the quirky electropunk of 'Suburban Violence' and the anthemic pop of 'The Fourth Wall' in early 2010. I then returned to Bath and recorded 'Purity Test' with various collaborators, including sultry new vocalist Rosanna Woollett.

Two more albums quickly followed in early 2011, the sprawling pop opus 'Beautiful Insane Insensitive Eruptive Liquid Ice Vice Music', and the spontaneous fusion of house music and lyrical ballads 'Psychedelectro'.

At this point I relocated to Melbourne, ready to explore a whole new era of The Womb. 'Escapism' was my first Australian album, a stylistically diverse concept record of psychological pop songs. This was followed by 'Shelley Avenue', an album of epic and nostalgic love songs, in early 2012. This was The Womb's first album to feature guitars and vocals from my new collaborator, Penny Walker-Keefe.

The Womb's latest album 'How To Deal With People Who Refuse To Leave A Burning Building' is our darkest, weirdest and most personal album yet, and probably also our best.