græd - the composer and producer is the performance persona of Seòras Rae.  
He gives the following method statement:

“Rhythmic repetition is part of any process where the body is acting mechanically. The sound of the hammer passing through chisel to metal for example deserves the consideration that the process of making is meditative and an exercise into being present. This is my departure point for the compositions I create to embody themes of trance and the liturgical functions of sound.

My compositions are created Live and developed with the audience. I use employs horns, voice, percussion and the technology that facilitates grime, trap and trance music. The faculties and limitations of these means create the mimicry that conceptually and audibly grounds my work as both religious and contemporary.

The instrumentation of the dj booth was central to unlocking my compositions and now is the physical keystone to my music. The booth allows the dj to maintain the flow of a performance, separating the maker from the audience as well as facilitating the trance like state which I am referencing in the music.

I replaced the left and right turntables with integrated loop and delay stations. The microphones feed directly into the mixer and are then sent to either the left or right stations via VfX or MonoSend. After the sound passes through the left and right it is then fed back into the mix, which gives me the ability to play with the levels during the Live composition.

I start a performance by capturing a measure of sound on a loop station. It is done without the intention to capture a rehearsed time signature almost the opposite.  I am forcing the music into the unknown by allowing the skeleton of the work to be unpredictable.

This part of my music is grounded in jazz and the idea that something unique is created with an audience when a musician steps forward to improvise. My compositions explore the musical commonalities between cultural traditions with improvisation at its core.

The compositions generally flow through a complexity of additive rhythms, traditional craft and contemporary techno. East and West, harmonic and melodic. 

In works like Crimen Vel Facinus, I am highlighting how modal harmonies audiable in Vespers; quatortonal melodies (and repeatitions) present in Hadra Dhikr, are now all housed in the agnostic dance spaces under our cities.

I believe that music’s value supersedes it’s commodity. There is a peaceful non material identity at large in the lineage of rave culture that offers relief from the discourse of ‘rational economic man’. I’m talking about Rollo, Sister Bliss and Maxi Jazz , Detroit and Plastic People.”