Scapegoat (2025) – String quartet & kick drum, 7 min

• A string quartet driven by a club-inspired kick drum pulse, where looping rhythmic cycles fracture and reassemble.

Interludes for Stabat Mater (2024) – Baroque strings & organ, 18 min

• Seven interludes for Pergolesi’s Stabat Mater, each reflecting a stage of grief.

Zenith (2022) – Harp & cello, 9 min

• A study of the sun’s ascent toward its exact solstice zenith, unfolding in increasingly suspended time.

BARDO (2021) – Contralto & piano quartet, 18 min

• Inspired by the Tibetan Book of the Dead, moving from mantra-like stillness to breath-based vocal chorales.

Look How Brightly the Universe Shines! (2021) – Piano trio, 5 min

• A concert opener responding to Richard Dehmel’s Verklärte Nacht, tracing tension, rupture, and reconciliation.

• Commissioned by Clare O’Connell.

Hurrian Meditations (2020) – Soprano & strings, 30 min

• A meditative piece inspired by the earliest known notated melody.

Strings Attached (2020) – Violin & piano, 10 min

• A unison-based work where violin and piano share and gradually destabilise a single melodic line.

Nearly Nothing (2020) – Solo metal percussion, 19 min

• A sparse work for metal percussion focusing on resonance, decay, and near-silence.

Leonardo’s Studio (2019) – Viol consort, 5min

• Written for the National Gallery exhibition Leonardo da Vinci: Experience a Masterpiece.

The Body Keeps the Score (2019) – Viola, percussion & tape, 9min

• A work for viola, percussion and tape drawing on Gaelic keening and Bessel van der Kolk’s writings on trauma.

Fragment (2018, rev. 2022) – String quartet, 9 min

• Inspired by the shamanic idea of soul retrieval, with musical fragments breaking apart and reforming.

Defence Cascade (2018) – String trio, 5 min

• Written for a kinetic sculpture by Harrison Pearce, inspired by the fight or flight response. 

Saṃsāra (2018) – Soprano, harp, clarinet & double bass, 10 min

• Based on cycles of rebirth, with repeating and transforming material.

• Written for and premiered by the Hermes Experiment.

For the Time Being (2017) – Harp & cello, 10 min

• An elusive duo where shifting mysterious textures emerge and dissolve.

Suspensions & Solutions (2017) – Bass viol & electronics, 14 min

• Written in close collaboration with Liam Byrne and inspired by how dye disperses and saturates in water.

• Premiered by Liam Byrne at the Barbican.

Four Rain Invocations (2017) – Flute/piccolo & clarinet/bass clarinet, 14 min

• Based on Balkan rain songs traditionally performed as part of drought rituals.

One is Fun (2016) – Two violins, 9 min

• Two violins move between exact unison and divergence, testing alignment and independence.

Three Dirges for the Living (2015) – String duo, 12 min

• Three laments drawing on keening traditions, written as responses to unresolved grief.

Night, Sleep, Death and the Stars (2024) – Baritone & chamber orchestra, 17 min

• A five-movement cycle setting poems about the night by Walt Whitman, W. H. Auden, Emily Dickinson, Anne Brontë, and Wilfred Owen.

• Commissioned by Jeremy Huw Williams and the Welsh Chamber Orchestra.

Tuning Ritual for Orchestra (2021) – Full orchestra, 5 min

• A concert opener extending orchestral tuning into a breath-led collective ritual.

• Written for the London Symphony Orchestra.

Landsker (2020) – Full orchestra, 5 min

• A unison line fragments, reflecting divisions between Welsh- and English-speaking communities in Wales.

• Commissioned by BBC Radio 3 for the BBC National Orchestra of Wales.

Release Me (2025) – Contralto & piano, 3 min

• A devotional song structured as a direct plea for release.

I Love You, My Darkness (2024) – Contralto & piano, 2.5 min

• A song centred on radical self-acceptance through embracing inner darkness.

Night, Sleep, Death and the Stars (2024) – Baritone & chamber orchestra, 17 min

• A five-movement cycle setting poems by Walt Whitman, W. H. Auden, Emily Dickinson, Anne Brontë, and Wilfred Owen.

Haf (2024) – Voice & piano, 3 min

• A Welsh-language setting of a poem by Mererid Hopwood for the 2026 Eisteddfod competition.

Drws Gobaith (2024) – Voice & piano, 3 min

• A Welsh-language setting of a poem by Mererid Hopwood for the 2026 Eisteddfod competition.

The Book of Hours (2023) – Mixed voices & ensemble, 55 min

• A large-scale setting of Rilke’s Book of Hours exploring night, darkness, and devotion.

My Lost Love (2022) – Countertenor & piano, 12 min.

• Four songs setting Japanese tanka poetry about love and loss. 

• Premiered by Feargal Mostyn-Williams in Tokyo.

All Now Went Still (2022) – Contralto & piano, 4 min.

• A peace song for Ukraine.

Cave Meditation: Cathedral Quarry (2021) – Solo contralto & percussion, 30 min

• A site-specific ritual in Cathedral Quarry, Cumbria, where the singer merges with the acoustics of the landscape.

There Was a Garden (2024) – SATB choir & organ, 22 min

• Seven Holy Week settings of texts by R. S. Thomas.

Saith Air y Groes (2023) – SATB choir, 25 min

• The first Welsh-language setting of Christ’s Seven Last Words.
  Written for and premiered by Bangor Cathedral Choir.

Into Air (2022) – Five voices, 25 min

• A meditation structured by breath, with singers moving independently through the music.

Flame Robin (2020) – Vocal ensemble, 6 min

• A choral work addressing endangered bird species and climate change.
  Written for EXAUDI.

Re-permission (2018) – Vocal trio, duration, 8 mins.

• A work for Juice Vocal Ensemble responding to GDPR consent language.

• Premiered at Cheltenham Music Festival.

LEONARDO (2019) Chamber opera for countertenor, tenor, baritone and viol quartet. 55 min.

• Inspired by the private diaries of Leonardo da Vinci. Premiered at the V&A in November 2019.

The Body Keeps the Score - a dance piece (2019) Viola, percussion & tape, 9 min.

• Echoes of Gaelic keening haunt a stark dialogue between viola and percussion, revealing the lingering imprint of trauma on the body - inspired by Bessel van der Kolk’s seminal book of the same name. Premiered at The Place in December 2019.

A Father is Looking for his Daughter (2019) Chamber opera for soprano, mezzo soprano, cello and percussion.

• Exploring trans identity and censorship in society. Premiered at Rough for Opera, May 2019.

Dear Marie Stopes (2018) Chamber opera for soprano, contralto, countertenor, viola da gamba, cello and electronics, 45 min.

• An opera about Marie Stopes, contraception and bodily freedom. Premiered at the Wellcome Collection (August 2018) and revived at Kings Place (September 2019).