PIXELHEAD. Nicosia, Cyprus. May 2022.

If you're not careful and noclip out of reality in the wrong areas, you'll end up in the Backrooms, where it's nothing but the stink of old moist carpet, the madness of mono-yellow, the endless background noise of fluorescent lights at maximum hum-buzz, and approximately six hundred million square miles of randomly segmented empty rooms to be trapped in.

God save you if you hear something wandering around nearby, because it sure as hell has heard you.

Inspired by Kane Pixels' reimagining of the extradimensional unfiction project 'The Backrooms', PIXELHEAD is an exploration of the felt experience of the uncanny. An uncertain main melody meanders into the forefront, abstracted and undeveloped - as if the rest of the melody was drowned out, and only a few notes remain - while being distorted through the use of harmonics, odd time signatures, and quarter-tone inflections.

The first drafts of PIXELHEAD were written over the course of three days I spent between Nicosia and Larnaca (CY) following Contemporary Music Lab 2022 at European University Cyprus - a hyperfocused compositional process I enjoy employing as I discover and explore new places - with the double bar line being finalised in a downtown shisha bar in Nicosia on the final night.


'PIXELHEAD' was composed as part of Cheltenham Composer Academy 2022. The piece was workshopped by Mahan Esfahani and Fenella Humphreys, under the mentorship of Daniel Kidane, and premiered at Cheltenham Music Festival Composium in July 2022, alongside works by Robin Fiedler, Vivek Haria, Marcus Rock, Crystalla Lola Serghiou, and Cameron Biles-Liddell.


Violin - Fenella Humphreys
Harpsichord - Mahan Esfahani

A version of 'PIXELHEAD' is also available for violin and piano.

backrooms cover.jpg

Interested in performing this work or perusing a score? Get in touch!