A lonely isle

A lonely isle is an audio project I’ve been working on with Ann and Richard. It’s a collection of anecdotes about Rockall, a remote island in the Atlantic ocean.

A lonely isle cover

You can check it out on alonelyisle.co.uk, Apple podcasts, Stitcher, TuneIn and Soundcloud. The soundtrack is up for pre-order, and it’s bloomin’ lovely.

This is my version of how it came together…

Dead reckoning

This project, which I’ve always thought of as ‘Rockall‘, has been in the works for quite a while. I first read James Fisher’s book about the island in 2012, while I was looking up names for a new company (this was the era of BERG codenames and I liked the idea of naming a company after a sector in the shipping forecast).

Rockall is a tiny, tiny island in the north Atlantic. Fisher’s book is a weirdly cold account of its human and natural history, full of drama but somehow still at arms length. I was pretty taken by it. I tried to spin it into a comic anthology, a couple of video blogs, then costed out a trip to get there and film it… but something never quite gelled. I was going about it the wrong way.

In his book, Fisher talks about how the weather on one trip forced his companions to get to the island by dead reckoning. In the end that’s kind of what happened with A lonely isle. In each of these early attempts I had a very definite idea about what it should be, but I didn’t have the skill to actually make it happen. I had to surrender to the process a bit more, and just let go at each step, waiting to see where it took the idea.


Rockall was one of the ideas floating around when Ann put out a call inviting people to record with her. After we’d recorded Markov Blake I went back to Fisher’s book to trawl for anecdotes – little fragments of the island’s history we could pull together into some kind of shape.

I tried a few ways of framing these, but in the end it we kept it simple. We held onto the anecdotes, stripped out a lot of the framing material, and wound up with a script that let the islet’s visitors speak for themselves.

At the time that felt tricky. I wasn’t sure that I was actually writing anything. But in retrospect it makes sense, especially alongside projects like The Bureau of Small Observation, A barrow by a beacon and even Her Wilderness and Waves back in 2009 (a zine/album review designed to be read in a random order).

I like projects made up of fragments and facets.

Meanwhile, I’d been chatting to Richard about doing something with music for it. I think this is around the time he and Tom Armitage were working on Songs for Spoken Words, throwing open the possibility of what the project might morph into. I’d had different versions of a Spotify playlist kicking around for a while, so I shared one with him, sent the script his way, and let him take it from there.

By the time Ann and I recorded the script with Matt Addis, Richard had already thumbnailed some beautiful fragments for us. Between recording soundtracks, albums, and sessions at Abbey Road, Richard gave these little pieces room to breathe.

The six tracks tell the stories in a way that the words can’t. You can hear the clouds surrounding Fisher’s plane in We waved, they waved, feel the ground coming up in 18th September. It’s great.

The landing

Rockall’s been kicking around in one form or another for about six years now. I’m proud it’s out and, frankly, relieved. Slow projects are tough (Russell’s got a nice ‘bit’ about that in the talk he did about making a contraption for Howies).

Momentum and motivation comes in fits and starts. That’s a world away from my professional life. It’s nice to let this little bit of my brain spin down and let the project go.

Anyway, go and have a listen. If you like it, let Richard, Ann or Matt know. They did all the hard work.

Thinking in video

“I keep telling Anne that I need to think in video, so let’s have a go…”

A short video sketch, full of mispronunciation. It took just under an hour to write, film and edit – plus rendering/exporting – which I’m told isn’t at all bad (it usually takes about an hour to get a minute).

Much more useful for me than it has any right to be. More soon.

Week 41

My Grandad’s funeral was last Thursday. I gave the eulogy. It was a sad day, as you can imagine, but (clichéd as it sounds) we did all reflect on the positive things about his life and our experiences with him. It was enormously cathartic.

Anyway, the world didn’t stop, and nor did work…


A short week. Time in the office was spent plotting revisions to guidance we’re drafting, and enlisting a bit of help for a dedicated day of wordsmithing tomorrow. Also planned some upcoming videos, which continues into Week 42.


Following a chat with Tom last week I wrote two short sketches for Rockall. Along with more concentrated visual references and a bunch of other short segments they’re going to shape our sense of the story. Tom’s comment (that this is ‘a third album’) continues to ring true; we’re not at the demo stage, and these are the first stabs at some jamming.


Learning smile on this one. A month after submitting the first round of copy I’ve had to wrap up the project. Too long a delay on feedback and too full a workload means that taking it any further at this stage would be a mistake for myself and for the client. Still, a tough decision, and not one taken lightly.

Anything else…

I should probably Google this, but there are two things I keep noticing in London right now. One is a colour story told in handbags involving a combination of a deep blue and leather, and the other is foxes (as logos/icons/etc).

Week 40

The diary doesn’t lie – last week was a quiet week, work-wise.


More blogging, this week, with Nettie in the comms team sadly off sick for a couple of days.

I’ve been helping wrestle these video week notes into shape, and I think they’re getting stronger. It’s a nice break in the flow of publishing, and they’re a neat way of summing up the highlights of the team’s working week.

The problem, as ever, is accessibility. There are still pockets of people within the civil service who cannot view these films on work machines. Transcriptions, published with each video, go some of the way towards fixing that, but they detract from the content proper for more viewers than they help. Also, transcripts are a bugger to read. Editing them so they scan well gums up the whole process, probably unnecessarily. I’ll be poking at a few more suggestions over the next few weeks.


Finally had the kick-off with Tom yesterday, watching The Sea to the Land Beyond and chatting about what kind of stories we want to tell. Tom interrogated my intentions really well, and helped to move the thing a bit closer to being a story. Next up, collating more cohesive references on the tumblr and writing little bits of prose.

Anything else…

Little bits of preparation for Sandsmark. Had a brilliant time at the RA’s Mariko Mori exhibition, an interesting time at the Sunday Assembly, and a fascinating time at the Hampstead Observatory – I saw the curling clouds of the stellar nurseries, and watched c-beams glitter in the dark near the Tannhäuser gate.