Over the past sixteen years, Richard Skelton has developed a signature sound, often comprised of strings, piano and other acoustic instrumentation. Since 2013 he has increasingly buried these organic sources in layers of detritus and static. The process, as he articulates it, is to use signal-degradation as a means of reflecting the processes of decay and transformation in the natural world. His music has been placed alongside giants of experimental music, such as Brian Eno, Harold Budd, Stars Of The Lid, William Basinski.
With 20202 album These Charms May Be Sung Over A Wound, however, Skelton abandoned acoustic instrumentation altogether to map out a new territory of buzzing sine tones and square waves.
2023's selenodesy interweaves Skelton's newfound love of synthesis with mastery of gritty organic texture. The album reveals a new, reverberant spaciousness to Skelton’s use of electronics, marrying the twin worlds of These Charms May Be Sung Over A Wound and its abandoned-factory threnody with the landscape-revering arcana of earlier work.