Interview With British Avant Garde Composer Lewis Gill
Discover the world of Lewis Gill—a composer driven by a passion for storytelling and innovation in contemporary music.

Meet Lewis Gill, a visionary avant-garde composer whose music defies conventional boundaries, crafting intricate narratives through avant-garde classical compositions. His latest work, "BLACK ODYSSEY," takes us on a psychedelic journey through the cosmos, inspired by his lifelong fascination with astronomy and the mystique of black holes.
In this interview, Lewis shares insights into his creative process, reflections on receiving acclaim from luminaries like Stockhausen and Markus Reuter, and the profound influence of his hometown, Warrington, on his compositions.
From experimental chamber works to eclectic film scores, Lewis discusses the diverse influences shaping his musical identity, his thoughts on the impact of AI in music composition and much more.
Eugenia, Musicngear: Your latest composition "BLACK ODYSSEY," has been described as a sonic journey from the event horizon to the singularity. Can you delve into the creative process behind this piece and the inspirations that guided its composition?
It's a bit 'SciFi' and 'far fetched' but I grew up listening to 1970's Prog Rock so that way of doing things came quite naturally - If Rick Wakeman can do 'Journey to the Centre of the Earth' and Rush can do 'Cygnus X-1' then I can do 'Black Odyssey' lol. I've always been interested in astronomy and I became fascinated (and confused) by black holes. I imagined somehow being able to cross the event horizon and journeying to the singularity without being killed by gravity - IF you could somehow survive it what would you see and experience?
Black Odyssey is supposed to be a description of that experience but in sonic terms. I guess it's quite psychedelic and trippy as a sound world but it was nevertheless painstakingly put together without the aid of anything illegal! Strings were the only instruments that seemed to convey what I wanted. It's essentially Avant-Garde Classical but there is a narrative there that (sort of) reveals my Progressive Rock roots.
The actual harmonic and melodic material of black odyssey is far removed from Prog though, it's an exercise in storytelling through precisely controlled dissonance. I used serial technique but bent the rules so there are 'rows' in there 'somewhere' but probably quite elusive to any analyser. I like to think it's the best thing I have done so far. A few people have said it is too long but I think the length of it was necessary for the 'story' to be told. The single note right at the very end is supposed to be the singularity.
BLACK ODYSSEY
Receiving praise from luminaries such as Stockhausen and Markus Reuter is no small feat. How have these endorsements impacted your career, and what personal significance do they hold for you?
Back in 1999, I sent Stockhausen a CD of a band I had previously been in called Cheeky Atom, it was sent to the Stockhausen Verlag in Germany so I wasn't counting on a response. However, a couple of weeks later I received a small package containing a CD copy of his piece entitled 'Octophonie' and a handwritten letter that was quite complimentary about the CD I had sent him! I remember shaking with excitement and frantically phoning the other guys in the band to tell them what had happened, they were as excited as me, we just couldn't believe it! The fact that the letter actually praised some of the music felt like an endorsement or a big accolade for me, it boosted my self-confidence too.
Much more recently I contacted Markus Reuter through social media with the intention of getting his opinion of my music. Again, I wasn't counting on a reply but a couple of days after messaging him I got a lovely message back saying he liked some of the music I had sent him, and then he subscribed to my YouTube channel which cheered me up even more. Stockhausen and King Crimson have been massive influences on me so to receive admiration from both (Reuter is a former member of Crimson) still seems like a miracle! Those endorsements have been like a massive pat on the back and a sort of momentum, they keep me going as an artist.
I'd rather not sound like other composers but I can't deny their influences
Your album "Parochial Chamber Works – Music Inspired by Warrington (Volume 1)" explores themes tied to your hometown. How has Warrington influenced your compositions, and what can listeners expect from this album?
I have lived in Warrington all my life so its got into my DNA. Whatever music I compose will reflect my surroundings to some extent. I decided to focus on particular areas of Warrington where I spent time with mates growing up. Not all of it was positive or inspiring though, 'Grasmere Skirmish' is about me being assaulted in Grasmere Estate, the music is suitably aggressive and atonal. By contrast 'Sankey Valley Reverie' is a peaceful composition about daydreaming on Sankey Valley.
'The Hollins Park Memoirs' is a musical illustration of the mental processes of an elderly patient with Alzheimer's, his memory is extremely confused which accounts for the sudden stylistic changes. Hollins Park is a mental institution in Warrington.
I guess listeners should expect an unconventional and avant-garde but hopefully accessible enough tribute to Warrington. Interestingly, all the feedback I have received about the album has come from outside Warrington.
Parochial Chamber Works – Music Inspired by Warrington (Volume 1)
Your body of work includes a diverse range of compositions, from chamber works to electronic improvisations. How do you approach the process of composing across these different genres, and what drives your experimentation and creativity in these varied musical forms?
It can be deceiving, the pieces that sound improvised are actually written, I like to make some of my music sound 'free' or 'loose' and I can only achieve this with complex notation. A good deal of Brian Ferneyhough's music sounds improvised despite the precise notation, you could say the same about Stockhausen's 'Zeitmasse'. All of my pieces are strictly written but some are much more rhythmically simple than others.
I am very influenced by the Darmstadt school but I'm equally influenced by American minimalism and I rarely (if ever) reconcile the two styles. I guess the ones that sound improvised come from the Darmstadt influence and are usually composed using serial technique, the ones that are influenced by American minimalism are conventionally written. Despite these influences, I sincerely hope that I have my own distinctive sound. I'd rather not sound like other composers but I can't deny their influences.
My film music is 'less me' than otherwise, but still 'me enough' to have my identity
You have written music for both live performances and film scores. How does your compositional process differ when writing for these different mediums, and what unique challenges do they each present?
When I scored 'Flying at High Noon' I was working with specific instructions from Director Ethan Prescott, he wanted a spaghetti western/Morricone type piece but with an ironic twist to it so I took the 4/4 thud from the good, the bad, and the ugly score but then added my own chords and melodies to it and deliberately made the whole thing slightly cheesy and humourous. So I was writing music to suit someone else's needs but making sure that I'm happy with the music as well, there's a compromise there that's obviously absent when I'm left to my own devices.
I suppose the upshot is that my film music is 'less me' than otherwise, but still 'me enough' to have my identity. On the other 2 occasions when my music was used in films, it had already been written, and then chosen by the directors because they felt it was appropriate. I'd like to work with filmmakers more in the future, I like the challenge, I like the way I end up doing things (musically) that I wouldn't usually do.
As an artist, what have been the biggest challenges you’ve faced in establishing yourself within the contemporary classical music scene? What advice would you offer to other artists encountering similar obstacles?
One of my biggest challenges was studying music theory privately to the point where I am able to do what I do now. After years of making music on an instinctive level with very little theory, I realized that I would have to knuckle down and study if I wanted to be a composer (in the traditional sense). So becoming musically literate and having a good understanding of harmony etc was probably my biggest challenge.
My advice to anyone else encountering similar obstacles would be "Stick with it, if being a composer is genuinely your ambition and you aspire to this idea with passion then you will eventually get there". There might be exceptions to this, but not many.
Promoting music in the digital age can be quite challenging. What strategies and platforms have you found most effective in getting your compositions heard and appreciated by a wider audience?
Definitely posting YouTube links on Facebook, I honestly don't know where I'd be without that ability!
I have posted a lot of my own music on Facebook group pages as well as my own page over the years and this has led to numerous connections with other composers and quite a lot of praise from people. I personally find social media very useful for promoting music.
Collaboration is often key to artistic growth. Are there any artists or composers, that you aspire to collaborate with, and why?
There's a lot: Markus Reuter, Brian Eno, Momus, Richard Dawson, Mike Keneally are musicians I'd like to work with. I'd also love to work with film directors like Danny Boyle and David Lynch.
With the rise of AI-generated music, there are mixed opinions within the music community. What is your perspective on AI's role in music composition and its potential impact on the future of classical and experimental music?
Well, I was a bit freaked out regarding AI only a few days ago, I heard a 'New Pink Floyd Album' that had been generated by AI and thoroughly enjoyed it!
There's endless philosophical debate regarding the aesthetics of AI-generated art and music and I honestly don't yet know enough about it to have a strong opinion on it - but the Pink Floyd album made me realize just how advanced it can be.
Regarding classical music, I guess there's a similar situation, I can easily imagine a 'New Mozart Piece' generated by AI being quite compelling.
In closing, Lewis Gill's innovative spirit and dedication to pushing musical boundaries promise continued intrigue and inspiration in the world of avant-garde composition. Stay tuned for more profound journeys through his unique musical lens.
Connect with Lewis Gill
Soundcloud / YouTube / Facebook

About Eugenia Roditis
Eugenia's passion for music was ignited from an early age as she grew up in a family of musicians. She loves attending concerts and festivals, while constantly seeking fresh and exciting new artists across diverse genres. Eugenia joined the MusicnGear team in 2012.
Contact Eugenia Roditis at eugenia.roditis@kinkl.com
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