Martin Archer was born 1957 in Sheffield, England. He is self taught on saxophones (from age 15), on synthesizers and electronics (from age 35) and as a composer (from age 0). His work method / compositional style is rooted in his background in improvised music and in his wholehearted acceptance of the chance music principles within the music of John Cage. If pressed he will cite as influences from the last century: Stockhausen, Cage, Morton Feldman, Messiaen, Roscoe Mitchell, Leo Smith, Anthony Braxton, Derek Bailey, Evan Parker, Soft Machine, Henry Cow, Faust, Can.

"Is composition the correct terminology for what I do? Typically, I'll start with improvised source material, either by myself or supplied by someone else, often without a particular end result in mind. These will be subject to electronic processing, usually through synths, filters, outboard & editing. Computers not much used at this stage. Finished result stored away, occasionally listened to, extensively thought about. After a while I'll get the notion that a couple of these bits might go together to make a piece. Will superimpose them often without making any editing alterations. It either works or it doesn't, no-one gets hurt. Then into the studio to add the played-live top line horns, strings voices. Never record more than one instrument at a time. Occasionally take a performance from one piece and drop it into another. Once this process has begun with a group of pieces, always work with the outline of the whole album in mind. CDs must be definitive and coherent in their entirety, never a collection of pieces. I suppose it is composition; certainly if I didn't exist then neither would the CDs".

Usual round of school and college bands? Three months after buying alto sax , first live appearance playing a version of Sister Ray. Six months after that, leading and writing for a variety of jazz-rock bands in and around Sheffield.

Returning to live in Sheffield in 1979, Archer quickly becomes involved with the thriving and creative local scene of improvisers and cutting edge rock groups that typified the eclecticism of the city at that time. Short spells with two radical groups. Firstly, Naked Pygmy Voles, whose synth-based high volume blasts of unremitting noise predate Merzbow by a decade, and usually leave listeners stunned and confused. Then with de tian, who take a Stockhausen influenced aesthetic into the unsuspecting pubs and clubs of South Yorkshire.

1980 - 1984 with 6 piece electric jazz group Bass Tone Trap, which arose out of de tian plus members of an improvisors collective. Moving between free abstraction and punk-informed velocity, the group was unusual in its combination of virtuoso jazz musicians and untrained naives. (Archer refuses to state into which category he belonged at the time.)

1983 - 1993 with Hornweb Sax Quartet. "I'd always envied the string quartet as a model of versatility, capable of driving rhythms, complex structure or total abstraction (often within the space of a single bar.) I figured that a saxophone quartet would be the next best thing, and that it would also get lots of gigs." During the ten years in which the group made three LPs and played hundreds of concerts, Archer gradually developed a personal language for notated music, often employing improvisation and composed elements at the same time, trying to blur the lines between the two, and exploiting chance interactions wherever possible. Very influenced by the AACM school during this period.

1988 LP Wild Pathway Favourites. An important release which heralded the pattern of all subsequent solo releases for Archer: a small group of players deployed in various combinations on each track. A cool and spacious mix of free improvisation, simple composed elements, a touch of free jazz, all enhanced by state of the art recording. "The good reviews which this LP got convinced me that at some stage this was the way I'd be working all the time. It gave me a lot of confidence."

1993 - Following a number of disruptive line-up changes, diminishing gig opportunities, and lack of label support to record, Archer split Hornweb and, somewhat disillusioned, sat back to consider the future.

Also in 1993, influenced by friend and producer Charlie Collins, bought a synthesizer and sequencer with the intention of using them as a compositional tool. Quickly realised that this stuff could be used as a creative tool in it's own right, and discovered an intuitive flair for programming. Introduced to synthesist Chris Bywater by Ben Watson, and began to work as Transient v Resident, a group which continues to the present time. Began to rediscover, often through Chris, electronic and rock musics hitherto unjustly ignored or abandoned.

1993 - 2000. Started Discus label with intention of concentrating on recorded rather than live work, and of having a reliable platform on which to make that work available. "I see the use of new music technology as being very compatible with the way I was trying to work before, especially in trying to introduce chance elements into the music - I'm just trying to surprise myself, I guess. If I can combine the creative and unexpected elements of that technology with the heat generation of a great improvisor, and apply some interesting "brakes" by using composed elements, and then get chance to give a hand, that pretty much gets to where I want to be. And of course, with the electronics I can set up the emotional weight of the whole music with just a couple of well chosen sounds, you don't need someone to come in and burn the house down by playing every note on the instrument." During this period Transient v Resident has been the only constant collaboration. Solo albums have alternated with other duos with John Jasnoch and Simon H. Fell, plus compilation projects such as Network.

"Increasingly, I'm finding it's possible to incorporate the sounds and dynamics of electronic rock music into my sound world".

2001 +. Transient v Resident continues on it's occasional and irrational course with a third CD. A new and important collaborator is poet Geraldine Monk, enabling Archer at last to work with voices - which will prove to be a central element of the next period. Two new live groups formed: Angel High Wires, with the specific intention of performing the CD of the same name live, and featuring Archer with Julie Tippetts, Sedayne, Geraldine Monk and Charlie Collins. Also VARISPEED, a new improvising trio in which Archer is joined Foster (turntables) and Mick Beck (bassoon, tenor saxophone)

2003 +. Two changes in instrumentation. In response to more frequent gigs, develops the "violectronics" set up. This is a mobile rig featuring prepared violin casio, filters and effects, with emphasis on non-pitched sounds. Also begins to use bass clarinet for live performances and recording.

2004 +. Laptop based system adopted for live performances."I'm playing it, not just shuffling waveforms". Discus begins to expand its release schedule to include a wider range of artists.

SOME EXTRACTS FROM 15 YEARS WORTH OF QUOTES

"His music has a clarity and decisiveness unmatched in anyone so pluralistic about genre" - Ben Watson

"Articulate and resourceful" - Dave Ilic, WIRE

"A menacing intelligence" - Mark Sinker, NME

"Fascinating … defies categorisation … an internal coherence which makes it compulsive listening … an art-rock mini-universe" - Joe Cushley, Mojo (re Winter pilgrim arriving)

"Archer's nonconformist musical approach somehow echoes the more conventional Englishness of Soft Machine and Nick Drake without recourse to imitation, flattery or recognisable tunes. Mixing pastoral acoustic sounds with electronic flourishes, the album could be seen as an answer to Gastre del Sol's like-minded appropriation of classic Americana, or simply enjoyed as one of the most beautiful examples of this often intimidating genre" -Stewart Lee, Sunday Times (re Winter pilgrim arriving)

"I love what Martin Archer does. Year after year he manages to surprise me. This is one of his most accomplished works. Daring, demanding and highly rewarding" - Francois Couture, L'Inentendu. (re Winter pilgrim arriving)

"I'll end simply by urging everyone who reads this review to hear from themselves. Winter Pilgrim Arriving already has my vote for one of the richest and most profound recordings of the year 2000." - Bill Tilland, Motion

"This is so zeitgeisty it's scary, and Archer really ought to be better known on the other side of the Atlantic, where chancers abound doing this sort of thing with little real musical commitment, often in search of witty postmodern gags or a sort of ersatz beat sensibility. This is an ultra-contemporary version of avant folk which can stand shoulder-to-shoulder with Eugene Chadbourne's reimagining of hillbilly music in its lack of respect for any dogma, be it from the world of folk, improv or the electroacoustic avant garde. In its sense of unified diversity and its ever-changing atmospherics, one might also mention Zorn's film music: it really is that good, and it's also distinctively English and completely unique." - Richard Cochrane, Musings ( re Winter pilgrim arriving)

"Another stunning record of thoroughly contemporary music. Fans of the downtown Chicago scene, particularly Gastr Del Sol, will love this delicate, free music. Archer creates an intimate feel with sparse arrangements and gentle waves of distortion. Acoustic instruments and electronics are weaved together to produce pieces that are like a long journey; all preparation and anticipation. It's only when the CD stops spinning that you realise what a trip you've had." - Joe Murray, Billy Liar (re Winter pilgrim arriving)

"Adds several dimensions to a world of ideas already pushing the boundaries of modern composition......evoking a wild mixture of emotions.....cathartic and expressive.....Once again Martin Archer and his collaborators have successfully created bridges between worlds previously barely imagined and they illustrate just how clearly modern recording techniques can further harness such vision. The line between madness and genius may well be thin, but Martin Archer certainly knows how to parade a carnival along it" - Fourth Dimension (re Pure water construction)

"A fine progression in Martin's electro-acoustic exploits. Rather than being just improv, he's always had a constructive approach to the work. None more so than on this release where Simon Fell brings his ability to find fluidity in the face of impending chaos, making the album a completed puzzle box. Attempt to take it apart and it'll fall to bits… There's a slew of people making albums with computers and found sounds, but the results are too often piece-meal in vision and effect, but with every album Martin expands his sonic vocabulary and editing skills. In Simon Fell he's found an ideal collaborator. If you've heard any of Simon's terrific free-jazz workouts, you'll know his recordings and live work have always complimented and enhanced the playing of others. This time he's brought out the best in Archer." - Progress Report (re Pure water construction)

"An exciting and skilful combination of improvised music and electroacoustic technique.....Fell and Archer display mastery of equipment, processes, sound quality and musicianship.....Full marks for ingenuity, innovation and inspiration.....Every track is a modernist gem of mournful, elegiac, deeply moving instrumental music" - Ed Pinsent, Sound Projector (re Pure water construction)

"If you can simply allow yourself to dig the intricate and sometimes outrageous juxtaposition of textures, patterns and timbres, it becomes a brilliant piece of work.....Light years better than 99% of the sterile contemporary academic stuff that passes for cutting edge electroacoustics today.....The things Archer can do with the sound of a piano are quite amazing, and in themselves offer ample testimony of his studio genius..... Aural treats abound.....The sort of recording that's going to offer surprise and delight every time out.....This CD is a rich, remarkable statement." - Bill Tilland, Motion (re Pure water construction)

"A stark and uncompromising soundbed successfully pushing both elegance and turbulence to the same heights.....Quite a feat." - Fourth Dimension (re 88 enemies)

"I think this is a fascinating record both for its proposition, application and listening quality" - Chris Cutler, ReR. (re 88 enemies)

"Ten cuts totally defiant in their ability to be pinned down, taking in an electrodelic opener dedicated to Richard Pinhas / Heldon, several more healthy dollops of prog guitar-streaked electro-throbbing, the kinda acidic improv rarely seen since early Floyd, radio (mis)use, environmental sources, digital gloop and, overtly, a head for genuine exploration and, in turn, invention. This cuts it like so little else in terms of sheer passion, quality, and all the other terms I'd care to throw at something as downright genuine as this" - Fourth Dimension. (re Disconnected bliss)

"One of the most elusive releases it's been my pleasure to ponder over this year.....loose-limbed, agile and unpredictable.....Archer's intelligent electronics is reaping its reward in exciting works which effectively establish their own identities due to his disciplined flair.....Intriguing, challenging work" - Chris Blackford, Rubberneck (re Disconnected bliss)

"Archer and Jasnoch have really come up with the goods here: a great disk of electro-improv which is utterly contemporary and full of variety. Most duets of electronics and live instruments are hit-and-miss: this just keeps on hitting." - Richard Cochrane, Avant (re Disconnected bliss)

"Archer's creations definitely push the envelope.....the music commands attention." - Bill Tilland, Motion. (re Disconnected bliss)

"Archer and Jasnoch have raised the level of what constitutes "cutting edge" free improvisation, bringing it into current modes without diluting its radical power.....highly recommended" - Wally Shoup, Improvisor (re Disconnected bliss)

"The music of ASK possesses the textures of electronic, the subtleties of ambient and the spirit of jazz, melting organic and synthetic sonorities and instrumentation in a limitless experimentation of virtuosity" - Jean-Francois Fecteau, Le Vestibule (re Disconnected bliss)

"Wonderful assemblage of saxophones, guitars and heavily processed electronic splutter…..A splendid array of grizzled mulch and computer - bound abandon impossible to imagine arriving from lesser minds. With a pedigree as strong as Archer's, it's difficult to think of him ever slipping. ASK, comprising sawtooth blare, crinkled dynamics, rivers of electronically - charged sweat and neatly hewn samples sustain this course rather nicely" - Adverse Effect (re Disconnected bliss)

"The momentum is onwards towards mutations of densities and dynamics, large scale and intimate soundscapes, where an insectile scraping of amplified objects inhabits the crevices of towering blocks of sound, where a twist of melody suddenly brightens an austere landscape. Certainly the most absorbing and entertaining electronic music I've heard for a very long time" - Rubberneck. (re Electrical shroud)

"You've only to play this against any given slice of experimental techno and you'll likely find TvR win every time, scoring full marks for inspired and dangerous chaos.....Fantastic recorded sound quality.....You can almost hear the machines think" - Sound Projector. (re Electrical shroud)

"Equal measures of beauty, depth and an unadulterated focus that shines through both the combination of spontaneity and arrangements alike. A remarkable album." - Fourth Dimension. (re Ghost lily cascade)

"The drama is startling. Archer's chill, separate sounds hang in the mind long after listening. Special" - Ben Watson. (re Ghost lily cascade)

"These pieces fire the imagination and stir the emotions, conjuring an intriguing soundscape. Recommended" - Wire. (re Ghost lily cascade)

"Rich and complex ..... dark and subtle ..... a unique blend of control and spontaneity" - Variant. (re Ghost lily cascade)

"Elegant.....understated.....disturbing.....worth playing to death" - Progress Report (re Ghost lily cascade)

"This is a language of sound which has only recently been compiled into a modernist dictionary, but Archer is fluent in it." - Steve Hanson, Ptolemaic Terrascope (re Ghost lily cascade)

"Dynamism and daring ..... great, tense music" - Richard Cook, Sunday Times. (re Hornweb)

"Devastating power" - Arts Yorkshire. (re Hornweb)

"An uncanny combination of searing abstraction and roots" - Wire. (re Hornweb)

"Some of the most engaged and engaging music currently being played in England" - John Fordham, Guardian. (re Hornweb)

"A balance of compositional strength and clarity of execution ..... a labyrinth filled with jewels at every turn" - Mike King, Coda. (re Wild Pathway Favourites)

"A document of unbridled imagination and optimism"- David Ilic, Wire. (re Wild Pathway Favourites) "Strong and raw" - Mark Sinker, NME (re Wild Pathway Favourites)