A bit about Errol...

Describing Errol's music [it isn't actually his - more on this later] is a little difficult, as it is not like a lot of other music you may be familiar with. It is certainly guitar music, but perhaps a little different from other guitar music your life experiences may have lead you to or that you may have heard.

Rather then song writing or storytelling, the objective is to describe a moment or a feeling. These occur in a frozen point in time. They are fragments, not necessarily in a series or a part of a puzzle. They exist as entities in themselves, in a similar manner as a De Stijl painting exists as an entity in itself. This does not mean the music is unapproachable, quite the contrary.

The motivation for the music is as contribution to the well being of the world. The music could not be described as avant-garde or confrontational, although hopefully the term innovative may seem appropriate. You may be comfortable with the term 'atmospheric' or 'ambient', you'd better throw the word 'guitar' in there as well somewhere, perhaps 'electronic' may be appropriate as well and we are now probably as close as we can get to a tidy definition of what Errol music is. I have no objection to being 'categorised' or 'put into a box'. I am happy to approach any suggestions on this topic.

I will say that I am interested in getting to the places that other guitarists cannot get to or choose not to. I was always interested in the instrumental tracks on the rock albums I listened to as a teenager. As a child the first single I bought [thanks to a gift voucher from one of my fabulous sisters] was 'The Letter' by the Boxtops with Alex Chilton on lead vocals. The next single was 'Love is Blue' by Paul Marriot and the Love is Blue orchestra. I think the next was 'The High Chaparral', I believe this was written by David Rose. When I listened to Black Sabbath for instance, it was the instrumental tracks that caught my attention.

How do you listen to this stuff? The ideal situation for the audience is to be involved in another perhaps productive activity like drawing, sculpting, making things, reading, cooking. One critic described my efforts as 'bonking music'. Fine by me, but I take no responsibility for the size of your family. The music has a duality in that it can be scrutinised closely or it can function on an atmospheric or ambient basis. This explanation may seem intellectually feeble for a reasonably complex activity, but it is the best explanation I can offer, and I make no apologies for this.