Ania Shrimpton

Tess Tyler

Bristol based media composer and recording artist Tess Tyler, represented by Manners McDade (Nils Frahm, Eatheater, Poppy Ackroyd etc), is set to release her debut album Fractals, due out September 9th via the Manners Mcdade label.. The project is a two part LP, with side one presenting the original neo-classical and experimental electronic explorations of Tess Tyler, whilst side two is a once in a lifetime live recording of the The Spindle Ensemble’s interpretations of the album’s graphic scores, designed by Tess, recorded at St George’s Hall in Bristol. The project has minimalist-style piano at its heart, complemented by evolving electronic soundscapes, complex meter, arpegic synths and expansive electric guitar. From one moment, floating through delicate classical piano to the next, bursting with booming, industrial ,hard-hitting beats. The album demonstrates a unique blend of gritty electronic textures and modern classical music with the album’s graphic scores at the heart of the project.


1. “Music expresses that which cannot be put into words and that which cannot remain silent” – Victor Hugo

2. “The truth does not change according to our ability to stomach it” – Flannery O’Connor

3. “I like beautiful melodies telling me terrible things” – Tom Waits


1. What is the biggest inspiration for your music?

Discomfort. When I can’t explain how I feel or feel stuck, I’ll write music as an attempt to understand myself better.

2. How and when did you get into making music?

As a young teenager I would spend hours learning Tori Amos and Regina Spektor songs by ear on the piano. Once I understood how the songs were made, I naturally started making my own. As my listening expanded into other styles, so did my compositions. It’s still evolving, and I hope that never stops.

3. What are 5 of your favourite albums of all time?

Tool – 10,000 Days
Kate Bush – A Kick Inside
Oceansize – Effloresce
Steve Reich – Music for 18 Musicians
Lamb – 5

4. What do you associate with Berlin?

Cultural diversity and freedom for experimentation.

5. What’s your favourite place in your town?

There’s a nature reserve in Bristol called Snuff Mills. I go there most days to clear my head and walk my dog. I have a favourite rock that I sit on.

6. If there was no music in the world, what would you do instead?

This question made me feel a bit ill. I hate to think… probably psychotherapy.

7. What was the last record/music you bought?

Sungazer – Perihelion

8. Who would you most like to collaborate with?

Trent Reznor (please).

9. What was your best gig (as performer or spectator)?

The Mars Volta playing Deloused In The Comatorium in its entirety at Barfly, Cardiff in 2007. Performing with Imogen Heap at Band On The Wall in Manchester was also very special moment for me.

10. How important is technology to your creative process?

Now, it’s essential. I used to be hyper-fixated on the notes, but now finding ‘the right sound’ for the notes to reside in is just as important to me. I’m fascinated by psychoacoustics and try and integrate this into my production wherever I can. When I’m not writing records, I’m composing for film. Being adept with technology is essential in this field, and has given me a great deal of experience in using DAWs, synthesis and producing my own work. When scoring to a narrative it’s so important to place the audience in a believable sonic environment. I aim to do the same thing when writing my own stuff – I almost don’t see technology / production as separate to composing anymore. It’s very much part of the composition process for me.

11. Do you have siblings and how do they feel about your career/art?

I have an older brother, Tom. He’s always very complimentary about my work, but secretly I know he thinks all my pieces need more bass.