"The unhurried meditative pace of Arvo Pärt runs through Blue, ... Graceful melodic lines writhe above a fidgeting bed of loops interacting in complex harmony "
- Michael Holland on "Blue" album review, Ears for Eyes
"... whose neo classical craft, aside being sublimely poised and deeply intimate, finds a sensitive passage hidden well away from the bright lights and bluster of modern pop... "
- Mark Barton on "Blue" album review, The Sunday Experience
"... hypnotic chance music built up through the asynchronic layering of chord tones, interpolated pitches, and melodic fragments."
- Daniel Barbiero on "Blue" album review, AMN Reviews
"... for best results its contents should be consumed under darkness and at an all-consuming volume"
- textura on "The Hidden" album review
"... spinning into modern decadence by Simon McCorry's cross-centuries music"
- Timothy Ramsden on Ministry of Pleasure, Reviews Gate
"... short, sharp shocker carries over even to Simon McCorry's sound design, which charges a largely bare stage to near breaking point and beyond"
- Matt Wolf on Vincent River, Theatre News Online
"Simon McCorry’s inspired sound design is a blanket of pure disorientation"
- David Jay on Guantanamo Boy, Sunday Times Culture
- Tristan Bath on "The Hidden", The Quietus
Originally born in London to mixed Indian/British heritage, McCorry trained in cello at The Centre for Young Musicians & Morley College then studied philosophy at Durham University, he is now based in Stroud, Gloucestershire.
His work is a rich combination of field recordings, adept loop based cello compositions and atmospheric improvisations that explore the rich sonic possibilities of the cello through a host of treatments and effects chains. The results of these experimentations are diverse to say the least, from droning stillness and devastating harmonic simplicity to the abstract microtonal atmospheres. The sound recalls post classical work from greats such as A Silver Mt Zion at their most plaintive, and Stars of The Lid at their most majestic.
When asked about his musical influences, McCorry states, “Aphex Twin’s Selected Ambient Works Volume 2 had a profound effect on me. I loved the strange, otherworldly super minimal sound worlds and the way the compositions subtly contort the duration of time”. Other inspirations include the era defining work of experimental trumpet player and pillar of contemporary music Jon Hassell. Border Land’s mix of tape degraded processing and microtonal sound layers has a debt to both the masters of dub such asKing Tubby and Lee ‘Scratch’ Perry alongside iconic 20th Century composerGyörgy Ligeti.
On the need for stillness in the chaos of the modern world, Simon says “my music is durational and mostly inward looking, and there seems to be an increasing need and desire for moments of calm in a crazy world that’s bombarded with disparate information”.
As a performer Simon is well travelled, he has performed at many prestigious events and institutions, including in Orlando Warrior with Julia Cheng at the South Bank as part of China Changing Festival 2017.
Sound Design & Music for Theatre credits include: Solaris (Štátne Divadlo Košice); Vincent River (Old Vic Productions); Joe Guy (Tiata Fahodzi); Iye Ile (Tiata Fahodzi); Boi Boi Is Dead (Tiata Fahodzi & West Yorkshire Playhouse), The Winters’ Tale (Headlong & Schtanhaus); Blue Orange (Tiata Fahodzi); Bacchic (Actors of Dionysus); Lemn Sissay’s Why I Don’t Hate White People (Artsadmin)
Music for Dance credits include: Savage Hart (Citrus Arts); Orlando Warrior (House of Absolute); Human Jukebox (House of Absolute); Breeze (Kolesk Dance); Silver Moon (Kolesk Dance); The Battle Within (Leroy Dos Santos)
Film credits include: May You Never Die (directed Guy Davies), Emily (directed Guy Davies), Tracker (directed Matthew McGutcheon), Sick To My Bones (directed Guy Davies), One Day (directed James Barriscale), Beauty and Brains (directed Catherine Donaldson), The Surroundings and Its Bearings (directed Ambrose Yalley)