Music for Bosch People

RELEASE DATE: April 23 2021
CD: £12.99 | MP3: £7.99 | FLAC: £8.99



“Flamboyantly unpredictable compositions. Turbulent and joyful … an extraordinary experience.”

The Wire

“Manic, contrast-heavy sound world”

New York Times

“Fun and really rich, varied, dense, maximalist, fun, joyful and unafraid.”

Gaudeamus Composition jury 2022

“The most joyous sound I’ve heard in ages!”

Martin Suckling, composer

Award-winning composer, improvising-trombonist and band leader Alex Paxton describes Music for Bosch People like this:

“It’s like minimal but loads more notes like video-games but with more song like jazz but much more gay like old music but more current like yummy sweet but more stick like paint but more scratch like tapestry but filthily like prayer but more loud like loud groove and more rude like fingers and faces too but somehow more smelly like smelly things cooking with more chew and change like louder prayers that groove with like stinking-hot-pink in poo-brown but even more desperate-like than that like drums and Dream Musics…”

Alex Paxton

His work draws upon a range of classical, experimental, electronic and folk music traditions to create a unique and explosive voice. The ‘Bosch’ in the title refers to the 16th-century Dutch painter Hieronymus Bosch, whose horrifically fantastical images inspire Paxton to make highly-charged genre-hopping music that is joyful and exciting but with violent aspects mixed in as well.

“Manic, brilliant, beauty”


Paxton uses the phrase ‘infinite MIDI synths’ to describe the way he composes. Tracks 3–7 began life as layers of recorded improvisations on a simple little stylophone and a small cheap MIDI synth, which were then written over with notation and orchestrated for a live band of drums, sax, guitar and trombone, electronics and tape elements. The title track is the densest, most complex piece he’s ever written and was composed especially for this recording. LONDONGLUM is a manic solo for vocalising trombonist that showcases Paxton’s compelling musical language. 

Paxton was elected to the 9th International Composition Seminarwith Ensemble Modern, has won the Royal Philharmonic Society Composition Prize, Dankworth Jazz Prize, Leverhulme Art Scholar Prize, Harriet Cohen Music Award, appointed as London Symphony Orchestra Panufnik Composer and has been commissioned by legendary multi-instrumentalist John Zorn.

“Paxton’s music is completely bonkers! The title track is 15 minutes long and defies all description. I loved the whole thing. It grabs your attention all the way through. I highly recommend this album – it’s great fun!”

Peter Slavid, European Modern Jazz on Hayes FM

“Operatic Game Boy music played by a virtuosic motley crew that’s inexplicably been hired to provide live jingles for a primetime TV show sometime in the recent past that never quite was.”

Gabriel Bristow, Point Of Departure

“Paxton takes Naked City’s level of intensity and builds larger forms using jarring layers that animate the entire audible field and jostle with each other, competing for the foreground of the texture … Hieronymus Bosch’s paintings are a good visual analogy for Paxton’s music: mountains of crisp detail that are legible when taken singly but accumulate into a surreal and overwhelming whole.”

Edward Henderson, Positionen

“A colourful wonderbag … glam rock and dubstep-soaked, thoroughly refreshing eclecticism. This album might just be the best time imaginable!”

Ole Hubner, Musiktexte

“Paxton is a system-crasher of genre, who merges jamming video game soundtracks, musical overtures, virtuoso chamber music and jazz improv into an unmistakeable style … highly complex, energetic work … stylish wit and sophistication and extremely entertaining … virtuoso ad absurdum.”

Jakob Böttcher, Neue Zeitschrift für Musik