My journey with music began at the age of 10 when I took up the piano. I then went on to sing in my local church choir as a boy treble. This gave me an opportunity to sing in awe-inspiring buildings such as Westminster Abbey and York Minster, which had a profound impact on me spiritually.

My musical training continued throughout my childhood and I went on to study a music degree at Colchester where free composition and performance were my main options. During my life as a student I became interested in meditation and personal development and this began to feed into my everyday life, forcing me to face up to the reality that the classical music world was not for me.

I moved up to Scotland and became interested in using music and sound as a source for healing. Then, after a two-year period of travelling around the world, living in community, and exploring the freedom of improvisation and street performance, I realised I needed more structure in my life.

This led me to working with Chloe Goodchild. Chloe showed me a very powerful and groundbreaking way of working with the voice. I have been studying with her for seven years and have completed the "Naked Voice" and "Facilitator" trainings. This work has enabled me to access depths within me I never knew existed and has also given me essential tools for my own nourishment.

I have been teaching voice for many years and work with people from all walks of life: children, people with learning disabilities, those in physical pain, and cancer patients.

Madrum's sound is constantly evolving and we hope to keep challenging ourselves, and our audience, as we continue on this journey of sound and rhythm.

I was given my first pair of drumsticks when I joined my local scout band, aged 11. I was fascinated by the thunderous noise of the ensemble. The sound may have been rather crude but its resonance and intensity really drew me in. I would later challenge myself to learn harder and faster rudiments, and worked tirelessly at perfecting solos. This was the start of my interest in the myriad of possibilities inherent in a relationship with the drum itself.

In the 1980s the UK drum corps circuit was at its height, and as a teenager I was very involved in this exciting and highly competitive movement from America. I was a writer, teacher, and performer. To witness a 130-strong world class drum corps from the U.S. is an incredible occasion: artistry, flair, precision, and, at times, a lot of volume!

I studied at Chelsea School of Art, which proved to be a pivotal learning experience. The artistic freedom this offered triggered a process whereby I began to see, think and feel for myself and my creative imagination and expression took on a deeper relevance. It was to be some 15 years later when my creative impulses would finally begin to sound their expression through the formation of this project.