
Henria's Lullabies (2024)
EP (13 mins) | Prepared Piano, Field Recording, Electronics
Commissioned by the Association de Malfatieurs and Galérie Analix Forever. Premiered at Galérie Analix Forever (Geneva, CH), February 2024. Title texts taken from 'Proverbs', section of 'Mycorrhizal Noise' (2024) - improvised novel, written by the Noisebringers.. Produced by the Noisebringers (Henry McPherson, Brice Catherin, Maria Sappho)
Interlunar (2023) featured on
The Gateless Garden (2024)
Solo Cello, performed by Brian Patrick Bromberg.
"[...] The two opening pieces, George Lam’s Cello Suite and Henry McPherson’s Interlunar share some wonderful ‘nocturnal’ characteristics, and I thought they paired well together to open the album. That being said, they both approached writing ‘night music’ in rather different ways. Interlunar has this slow growing melody that traverses the range of the cello while George’s piece, in the last movement titled Nocturne, the writing recalls the quiet strumming of a lute or guitar at the end of a long day." - Sleeve Insert


Herbarium (2023)
EP (14 mins) | Plucked and Bowed Strings
Herbarium is a co-composition by Florijan Lörnitzo (AT) and Henry McPherson (UK). The piece is a musical and visual exploration of household herbs and spices, mixing illustration, graphic, and traditional western music notation. Each page in Herbarium features one herb or spice, selected by us for their aroma, their shape, and their imaginative qualities. By layering different pages of the score, you can create your own blend of sonic, visual (and culinary) material. The piece can be played by any ensemble of musicians, whether in concerts, or at home in the kitchen.
This recording was made collaboratively by Florijan and Henry in 2023. Commission supported by Stadt Wien and SKE Austromechana.
String Quartet (in memoriam Béla Bartók)
(2022)
EP (30 Minutes) | String Quartet
This quartet was composed using a technique of layered improvisations in the studio. Throughout, the work explores physical and sonic fragility, each instrument experimenting with moments of tension, breaking, and collapse (in the arms and fingers, as much as in timbre and shape). The piece invites reflection on and an acceptance of half-ness, in-betweens, incompleteness and being ‘not quite there’, in both sound and gesture. The first movement – “Dark, Tendrilous (like something from the depths)” – plays with the tangling and weaving of microtonal threads. Its meandering, fragmented melodies, recalling shadowy figures from Bartók’s own quartets, are drawn together loosely before winding down and unravelling, never quite reaching conclusions. The second movement – “Crystalline (breaking, shattering, falling)” – is an exploration of texture focused on scratchwork, pressure, and bright, harsh timbres. It is driven by the physicality and sensation of experimental techniques, by the concentrated point of contact between bow and string, the scratch of rosin powder, and the tension of metal and wood. The third movement – “Still, Glistening (like an ocean under starlight, or a sheet of glass)” – moves into a hovering soundworld of ghostly harmonics and flautando bowing, gradually opening into a plaintive chant in four parts.


Noise at the death of one beloved (2022)
Album (30 mins) | Free Improvisation, Sonic Collage
Collage of layered improvisations, recorded 8th February 2022. In memoriam George Crumb (1929 - 2022)
"On the 8th February 2022 I recorded sixteen improvisations of between three and fifteen minutes, using the instruments in my home. I then fragmented and layered these improvisations into a collage in five parts. George Crumb's work opened my eyes and ears to otherworldly sounds and shapes; the beauty of his scores and the sensitivity of his writing has stuck with me through years of music making. These contemplative improvisations seem like a fitting tribute to a truly incredible artistic voice."
Part IV was featured in BBC Radio 3's Freeness show's New Year episode, 2023.
INTIMACIES (2020)
Album (45 Minutes) | Vocal, Experimental
"INTIMACIES an experimental album of improvisation, auto interview techniques, sonic recollections, field recorded fragments, quarantine confessions and synchronised speaking; filled with wordless anti-wisdom, nonsense dialogues and fantasy folk song. Produced across the months of the first UK Lockdowns, March - September 2020.
Broadcast on Radiophrenia, February 2022.
capella_dream broadcast on Resonance Fm/Sampler Mixtape March 2023


'Easter Raises the Dead' featured on 'Rocks I Have Taken (2020)
Track (9 minutes) | Electroacoustic
"Rocks I have Taken is a visual album of stories, sounds, and videos of rocks that I have collected from places I have been or places I am from. Each rock is paired with a story of a land which in one way or another has felt the invasion of human presence. These are stories both ancient and not so distant, which tell different paths of exchanging histories, conquered and stolen lands, lost cultures and languages, but growth and change nonetheless." - Maria Sappho
Released April 30th 2020.
Featuring Alessia Anastassopulos, Ronan Whittern, Dejana Sekulic, Brice Catherin, Katie Oswell, Henry McPherson, Colin Frank, Maria Sappho
Colagens//Collages (2019)
Album (45 Minutes) | Vocal, Experimental
Installed at DESPINA, Rio de Janeiro, BR, September 2018, and the Fruitmarket Gallery, Edinburgh, UK, February 2019 Colagens/Collages is an installation and accompanying audio album of sonic collages, produced as part of the Open Bodies residency (Residência Corpos Abertos) at DESPINA, Rio de Janeiro, BR, during September 2018. The residency, led by DESPINA and the Fruitmarket Gallery, and funded by the British Council, brought Scotland-based artists together with Brazilian artists in Rio, to work in parallel on projects exploring themes of gender and sexuality. The audio samples used in the project were taken from locations of contemporary and historical importance to the Queer/LGBTQ(+) community of Rio de Janeiro's Zona Sul. Locations included: nightlife venues, places of support and shelter, public spaces, places of celebration, and the streets at day and night. Recordings were taken in the neighbourhoods of: Glória, Centro, Copacabana, Ipanema, Lapa, Urca, Botafogo, Catete, Flamengo, Jardim Botânico, Laranjeiras, and Santa Teresa. During the installation at DESPINA, individuals followed a trail of deer-prints through the gallery space, along a walkway of found sounds from the city. At the door to the upstairs bathroom, the boy (o menino) offered them a key, and asked if they would like to listen. During the installation at the Fruitmarket Gallery, audience members moved freely through the gallery throughout the showing, listening to the sound-collages on headphones connected to pink MP3 players mounted on the wall. Henry McPherson then performed using tiles covering a large banner, on which were written pieces of text collected from the residency period in Rio de Janeiro. Henry gradually uncovered the pieces of text, by smashing and rearranging tiles, while the entirety of the album of collages was played through loud-speakers.
