Northern Irish by birth, African by life – most recently working from Nottinghamshire, the son0_morph series provides a conceptual framework wherein Jonathan Crossley explores how digital ecologies mediate genre fluidity within poly-genre improvisatory contexts. It is the current zero-point in 10 years’ worth of performance and research: starting from PhD research into hyper-instruments, to designing immersive technologies compelling improvisational interactions and dialogue – delving into a sonic morphology of future expression.


Honda’s Asimo and Cameron’s Terminator represent two binaries: one sent to collaborate, and one sent to destroy. Son0_morph sits squarely in Asimov’s camp – wherein a child-like techno-optimism is paired with an aesthetic concern for the musicians involved: Systems are there to support the musicians. What makes them tick? What makes them happy? These albums were joyous occasions, marrying humans and machines in beautiful ways.



Jonathan Crossley is a versatile musician, performer, educator and composer with a specialised interest in contemporary musical cultures and technologies.

His musical practice ranges from classical guitar to improvisation and jazz through to electronic music and experimentation. His outputs have included albums such as the acoustic album, ‘Dreams of Skilia’(2001), chamber jazz album ‘My Friends and I’ (2004) to the rock/funk albums ‘Funk for the Shaolin Monk’ (2007) and ‘Got Funk Will Travel’ (2009).

The experimental album ‘What if the Machines Spoke Back to You’ (2011/2018) was the beginning of the series son0_morph. A number of albums have explored these technologies such as ‘The Settlement’ (2017), Blipz (2018) ‘Deep Spacer – 433 Eros’ and the series now being released.

He has relentlessly pursued innovation in not only the use of the guitar and technological systems but in the application of these technologies in recording and looping practices. His PhD research led to the development of an extended guitar system or hyper-instrument, the Cyber-Guitar, which extended the capacities of the traditional electric guitar beyond the use of the hands, encompassing the joints of the upper body through the use of a mechanical exoskeleton.