Author Archives: Another Fine Day

About Another Fine Day

After a distinctly eye-opening (for him, as well as the audience) stage debut with cult post-punk outfit DUM DUM DUM in 1979 (where he poured beer over his Wasp synthesiser, thereby persuading it to self-generate sounds at random- it did survive, and still works) Tom Green spent the ‘80s playing keyboards with various artists including African guitar luminary Abdul Tejan-Jalloh, while also teaching himself new methods of writing music, with early computer music systems, by writing a good deal of music for the corporate media market. As the early dance culture bloomed, Tom found himself collaborating with a strange group of musicians and sound designers on what became a seminal album of the early ‘90s, THE ORB’s “Adventures Beyond The Ultraworld”, and went on to contribute tunes, beats, and various odd noises to a further 4 albums by the group, including the No 1 album “UF Orb”. During this period Tom took occasional time out to work on his own project ANOTHER FINE DAY, which took the ear of Big Chill founder Pete Lawrence, who booked him 15 times in a row for the BIG CHILL festival. (Tom remains one of the few artists who has played at every single Big Chill) Fans of ambient music voted the first AFD album ‘Life Before Land’, released in 1994, to No 3 in THE INDEPENDENT’s chart of ‘Greatest Ambient Albums’ in 2007. A second AFD album “Salvage” was released on the San Francisco label SIX DEGREES in 2000, and the EP “Chasing Tornados” in 2004. “Music for MRI Scanners” (under his own name) followed in 2007. As well as further collaborations and remixes with THE ORB, Tom co-produced two albums for BAKA BEYOND, Martin Cradick’s respected world music project, incorporating elements of singing and drumming from the forest people of Cameroon. In the meantime Tom has continued to compose music for the media, including BBC, CHANNEL 4, and RTE, as well as contributing tracks to quality music library Atmosphere (now part of Universal music group). 2007 brought him his first feature score, the comedy horror ‘BOTCHED’ ( winner of BEST FEATURE and BEST ACTOR at the NYC Horror Film Festival in 2007- and Tom continues to provide soundtracks for TV, film, and other media use. A further AFD album is rumoured to be in production, release date not confirmed. Tom is a member of BASCA, PCAM, MU, and AIM, as well as the Screened Music Network. Tom’s work is usually published by Kaleidoscope Music Management and Publishing, in association with Notting Hill Music.

Winter Chill mix

Honoured to contribute an hour of deep chill for the Mixamorphosis Winter Chill series, mostly drawn from Elements and Erebus & Terror

their link here

or listen here

Seasons greetings to all…

… and here’s an audio-visual ‘christmas card’ to celebrate the winter solstice

free download for the ’12 Days of Christmas’ (ie, until Jan 6th 2016) right here

Have a good one, one and all, best wishes for 2016

Tom x

New chill from Interchill. It’s a bit chilled.

Couple of AFD tunes on this fine new compilation from Interchill

Oldie but Goldie

… or in this case, Greenie. Looks like this old tune from Life Before Land is getting sync’d to a film, further details later…

It’s another fine day on BBC Radio 4

Coming up Thursday 29th October at 3pm, BBC Radio 4’s “Open Country” explores the site for the first Big Chill Festival in 1995. Helen Mark meets founder Pete Lawrence and a handful of other folk to have a chat, including Tom Green/AFD – he’s the one with the hat.

[warning – chilled zone ahead. There will be thumb piano/kalimba/mbira]

petLpic of big chill radio 4


A side project here, 20 deeply ambient tunes commissioned by the Ameritz label for their Spotify channel – do not take this medication while driving… for now not available as download, though that may change.

David Bickley – ‘Belerion’

Those familiar with dark ambient album ‘Erebus & Terror’, produced by David Bickley and Tom Green in 2005, may be interested in checking this out – it’s David’s latest album, a PHD project exploring the techniques of analogue synthesis and recording, as it was in the mid 70s. I contributed a fair amount of synthesis and performance, and can confirm that this is entirely analogue throughout the production chain (apart from the eventual digital masters on Bandcamp…) Those fond of the Tangs’ ‘Rubycon’ may well feel a smile coming on …