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Salt Garden 2

Ltd Edition Presale exclusively through Headphone Dust

NOTE :: The standard editions will be available to order from Omnempathy in June.

The new EP from Fovea Hex THE SALT GARDEN 2 will be released on 21st June, 2017 on Steven Wilson’s Headphone Dust label. Steven has long been a fan of Fovea Hex, who also count David Lynch, Brian Eno and Underworld amongst their admirers.

The Salt Garden 2 is the follow up to the critically lauded The Salt Garden 1,’s Single of the Year 2016. Issued in 3 standard editions; 10 inch vinyl + CD, CD only, Digital Download. There will also be a limited edition release featuring a bonus remix CD by our special guest, the mysterious Serbian soundscape composer Abul Mogard. This ltd edition will only be available online via Headphone Dust, Die Stadt, Janet Records, ICR and Omnempathy.

The core ensemble of Clodagh Simonds, Michael Begg, Colin Potter, Laura Sheeran, Cora Venus Lunny and Kate Ellis is joined by special guests Brian Eno and Justin Grounds.
Critical Reaction to The Salt Garden 1

Brainwashed (Readers Poll Winner, Single of the Year, 2016)
“Another beautiful piece in a flawless catalog… The first installment of a new series of Fovea Hex EPs is reason enough for 2016 to exist”

A Closer Listen
“The group tends to fall off the radar every few years, only to resurface with a quiet vengeance… Fovea Hex makes music when it’s good and ready, and now is the time.”

Vital Weekly, Frans de Waard
“This music elevates to an entirely different atmosphere, not of this world. This is twenty-one minutes of heavenly bliss.”

Heathen Harvest
“The Salt Garden I is a box of delicate mysteries with no resolutions, and it’s all the better for it. As brief as it is beautiful, it leaves the listener simultaneously reeling with the emotions it draws forth, and awaiting further installments to come.”

“The superlatives left to describe this unique chamber ensemble are fast running out… It is always an unmitigated pleasure to enter this house and warm oneself by its smoldering sod fire.”

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A Moon That Lights Itself

New release by
Michael Begg

CD / Digital (Bandcamp)

Release Date – 14th November 2016

Early in 2016 Michael Begg was commissioned by Scottish National Galleries to compose a new musical work based around the 19th century painter Charles François Daubigny. Daubigny has in recent times been recognised as one of the principal figures contributing towards the emergence of the impressionist movement.

The resulting work, A Moon That Lights Itself, was premiered at the Royal Scottish Academy, Edinburgh on September 16th 2016, with Begg being accompanied by cellist Clea Friend.

this studio recording of the work was completed by Michael Begg immediately following the performance.


During the 1870s, Charles François Daubigny, in the last years of his life, took increasingly to painting nocturnal scenes en plain air from his boat studio, Le Bottin. This was a period in time when the idea of the musical nocturne had progressed from being an indication of what point during the evening a particular piece of music should be played, towards becoming an articulation of the unique atmosphere and emotion occasioned by moonlight.

At this time, elsewhere in France, Edouard-Lean Scott de Martinville conceived and produced the phonautogragh. This device, appearing years before Edison’s phonograph, enabled sound, for the first time, to be captured. Unlike Edison, however, de Martinville neglected – or saw no need – to provide the means to playback the recording. Rather, a visual representation was captured on a lamp black cylinder.

It wasn’t until 2008 when researchers at Berkeley University used digital technology to recover the audio. The recording, the first ever made, was of a human voice singing Au Clair De La Lune.

For further background on the context of this recording the National Galleries blog published an article by Begg in which he discusses his approach to the commission:

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London Show. ICR:35. Begg | Coleclough | Liles | Potter

Michael Begg, Jonathan Coleclough, Andrew Liles and Colin Potter will perform in London, at Cafe Oto, on September 30th 2016. The event, ICR:35, is our way of acknowledging the contribution of Colin Potter’s ICR to the European experimental music scene over an astonishing 35 year period (so far!)

Full details/tickets at the Cafe Oto website:

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A Moon That Lights Itself

Commissioned by National Galleries Scotland, A Moon That Lights Itself is a new piece of music, for electronics, strings and moonlight, by Michael Begg. The work evokes the nocturnal life of the French painter Charles François Daubigny in his later years, floating on his boat studio, addressing, directly, the moon.

The work will be premiered in the Royal Scottish Academy, Edinburgh on September 16th 2016. Michael will be accompanied by cellist, Clea Friend.


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New Releases: Fovea Hex, Michael Begg, Chris Connelly

Several new releases are now available for pre-order in the Omnempathy store.

Fovea Hex – The Salt Garden 1 – is available in 10″ vinyl + CD, ot CD only editions

Chris Connelly & Michael Begg – New Town Nocturnes – is available in CD Jewel Case edition

Michael Begg | Human Greed – Let The Cold Stove Sing – is available in CD card sleeve edition

Go to the store to order:


Do be aware that these titles are all currently on pre-order with release dates scheduled for 9th March, 1st March and some time in early April respectively. However, we will ship directly as soon as stock is available and, where possible, in a single package.

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9 new tracks by Michael Begg | Human Greed:

The Garden
Da Pacem (apres Arvo)
Psalom (Live dans l’église Ste. Kasey, Samoens)
Pastorale (apres Schnittke)
Once More In The Fortress
Ameland et Amsterdam

Michael Begg :
After releasing World Fair (Omnempathy, 2014) I became a sketchbook. I had a few creases and the best way of smoothing them out was to take a swift, light touch and make marks on paper. I documented the landscape in East Lothian, and the watercolours were nothing more than the evidence of time spent looking. And that was enough. I sketched notes about silence, about space and place, music and recording. I took one step to the side and listened to the time rush by. I applied the same light touch to the studio. I sketched. It was enough. I somehow, briefly, removed ambition and purpose and found, in the winter, a moment of repose.
I now feel like some little winter animal, a hivernant, arising from sleep.
Like Dirt On Earth, Hivernant is, I think, a political statement, albeit one that I cannot yet articulate in terms other than of itself. It may have something to do with retreat, with acknowledging one’s influences, with abdication of the self, with producing work as something other than a reaction. It is another Pocket Of Resistance