Tour with Colin Webster (Zurich / London / Wolverhampton / Manchester / Bradford / Liverpool)


In April me and Colin Webster are playing several dates as part of a tour. Colin plays saxophones and I will use turntable and dubplates, walkmans and percussion.

15th April – Kunstraum Walcheturm, Zurich, Switzerland
22nd April – Servant’s Jazz Quarters, London, UK
24th April – Quadrant Lounge, Wolverhampton, UK
25th April – Noise Above Noise @ The Penthouse NQ, Manchester, UK
26th April – Noise Broadway @ Fabric Lab, Bradford, UK
27th April – Frakture @ The Ship and Mitre, Liverpool, UK
29th April – Horse Improv Club @ The Doghouse, London, UK

Our album ‘Estigate’ was released by Linear Obsessional Recordings last month. Buy/stream/download the album here. For the tour we will release a new album of recordings through Colin’s label Raw Tonk.

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Improv gigs with Anthony Donovan and Matt Chilton (London)

I’m playing two dates in London as part of a trio with Anthony Donovan and Matt Chilton. I’ll be using a combination of percussion, electronics and turntable with dubplates.


Friday 11th April: OUTSIDER at the MINDSWEEPER
The Mindsweeper, Brookmarsh Industrial Estate, Norman Road, London SE10
LIVE: Ampersand, Ryan Jordan, Anthony Donovan + Matt Chilton + Graham Dunning + Misha Salnikov, Rapoon and Pas Musique (New York)
facebook event

Saturday 12th April: noise=noise
Top Floor, Unit 73a Regent Studios, 8 Andrew’s Road, Hackney, London E8 4QN
facebook event




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AAS | The Cult of Possible Elements – performance installation (London)

Live performance…

AAS | The Cult of Possible Elements
20 March 2014 4:57 – 9pm
Free admission

AAS, Syringe Drone (sacred dose) ritual, 2012
All Everywhere All The Time, AAS creates itself through chance. AAS are SAGE ASH AND COPPER FIRE, bringers of the drone, extra-human changelings, scourge of the future.

The Cult of Possible Elements:

The voice intones, a hand inscribes symbols on the body, the eye witnesses and enjoys the pain. “They’re Dogon eggs,” says Félix, holding his testicles in his hand. “Just hold them in your hand and you’ll get to the Body without Organs.”

It’s by will alone I set my mind in motion.


The eternal spirit of AAS

IMT Gallery
Unit 2/210 Cambridge Heath Road
London E2 9NQ UK
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Duo set with Colin Webster for Hideous Porta (London) – Turntable and Saxophone improv


On Sunday 16th March I’m playing live again with Colin Webster at Hideous Porta 11, Ryan’s Bar, Stoke Newington. We’re touring our new album, Estigate.

The event starts at 6pm and we’re the first act performing. Facebook event here.

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Workshop and performance at Dear Serge, De La Warr Pavilion (Bexhill-on-Sea)


On Saturday 15th March I’m running a workshop and performing live at Dear Serge a free event at the De La Warr Pavilion, Bexhill-on-Sea.

1pm-2pm Graham Dunning Workshop
Ghost in the Machine Music:
Build an abstract music making machine using scratched records, turntables and keyboards. Then jump on the controls as a group and free the ghost in the machine with a live mixing performance. (The sounds you produce will be recorded and you’ll receive a digital copy)

2.15pm-2.45pm Graham Dunning – Performance 
Vinyl dissonance for lost memories: a live rhythmical collage made of squeezed record crackle, analogue synthesizer, dubplates of field recordings, dusty shellac records and clumsily triggered drum machines.

Graham dunning creates art in many formats but the common thread across all of his work is the use of found objects and sound.

“My background is in experimental music and this continues into the art I make and how I go about it. I use experimentation and play as a main part of my making process. I also like to set myself restrictions for my projects similarly to the way scientific experiments are conducted. Noise – as unwanted sound like record crackle or tape hiss – often features in my work, and a visual equivalent in dirt, dust or decay. I often try and repeat a visual process with audio, and vice versa.

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New album on pre-order now: Music By The Metre Archive One on Entr’acte

e166sq I’m thrilled that my new album Music By The Metre Archive One is coming out on Entr’acte very soon, and is available for preorder now, through the label’s website, here:
More info about the project here.

The CD will be available in mid-March. It’s limited to 200 copies. Mastered by Lawrence English.

Details below:
Giuseppe Pinot-Gallizio was a founding member of the Situationist International and inventor of Industrial Painting. These artworks were created by machines, which automatically made abstract expressionist paintings on long rolls of canvas, to be cut up and sold by the metre. Graham Dunning’s ongoing Music by the Metre
project is a homage to Pinot-Gallizio.


Dunning creates abstract music machines from found tape loops, dusty 78s, live environmental sound, endlessly repeating dubplates of field recordings, and analogue synthesizer drone. These contraptions are then used to fill whole spools of tape resulting in dense, textured soundfields with complex polyrhythms, at once static and everchanging.

Graham Dunning is an experimental artist who works primarily with sound and found objects. His work is concerned with time, noise, and memory. This album comprises four 350m edits from Dunning’s ever growing archive of audio spools.

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Estigate album launch – live set in store at Electric Knife Records (London)

Estigate0 Saturday 8th March at 2pm sees the official launch of Estigate, the new album from myself and saxophonist Colin Webster. You can preview the album and buy a copy at Linear Obsessional’s bandcamp page here.

ESTIGATE is the new album by the saxophone and turntables duo of Colin Webster and Graham. To launch this release on Linear Obsessional Recordings, the duo are playing an intimate show at Electric Knife Records in Kentish Town.

Support is from Louie Rice and Vasco Alves (live electronics).

[Facebook event]

Electric Knife Records
16B Fortress Road
Kentish Town, London
Saturday 8th March – 2pm

We’ve also had a glowing review from the Eyes For Ears blog, here.

“The music they create is fascinating, the sound is fibrous and often timid; coaxed into being, as if from a hiding place, brought into unaccustomed exposure.  Sighs, pops, and short darting flurries from Webster are tossed into Dunning’s drifting net of soft threads; he conjures rough tapping scrapes, hissing crackle, and undulating moans, all bedded in a surreal fumbling clickscape.”

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