Bog Bodies is the collaborative project of Robert Stillman (saxophone), Anders Holst (guitar), and Seán Carpio (drums). Formed in 2015, the band’s sound breaks down distinctions between composition and improvisation, electronic and acoustic sound, abstraction and figure. Their first recorded work, Sligo  is part of a larger multi-media project created jointly with experimental film artist Benjamin Rowley as part of a residency at the Model Arts and Niland Gallery in Sligo, Ireland, in 2014. Rowley’s hand-made 16mm soundfilm loops form an integral electronic element of the music on the album. Shifting freely between textures of drone, noise, and lyrical melody, Sligo reflects the eclecticism of the band members’ individual careers (they have collaborated with artists such as Manuel Göttsching, Kit Downes, and Joachim Badenhorst), and to the broad range of music from which they take inspiration, which includes James Blood Ulmer, Sunn O))), Archie Shepp, and Supersilent.

Since forming, Bog Bodies has performed throughout the UK and Europe as part of programmes organised by the  the Wellcome Trust/Cambridge University, the Arts Technology Lab at Trinity University, Dublin, the Turner Contemporary, Margate; and the Centre Practice Based Research at Canterbury Christ Church University. 

Sligo, was released on 17th July 2017 on Migro/CISA records,  is a limited edition of 200 LP’s, each enclosed in a selection of 4 double-sided riso prints by Ben Rowley, and a fragment of 16mm negative from a Sligo film. The album has received critical attention in major music publications such as the Wire and Uncutand has received radio airplay in both the UK, EU, and USA. Click HERE for more info, and to listen/order.  


Robert Stillman is a composer and multi-instrumentalist from the northeast United States. His music juxtaposes the archaic with the futuristic, incorporating influences of Folk Americana, Jazz, Minimalism, and experimental electronic music to create a sound described by the Guardian as “lending an avant-garde shimmer to pre-modern American sounds.” He has released eight albums of his own work, the most recent of which, Rainbow (Orindal Records) received critical acclaim from publications such as Mojo, Other Music, and Aquarium Drunkard. He has performed his music at venues and festivals internationally, sharing bills with artists such as Hauschka, Deerhoof, Dirty Projectors, Black Dice, and Yo La Tengo, and worked with a wide variety of musicians, including Grizzly Bear, Luke Temple (Here We Go Magic), Chris and Kurt Weisman, Kit Downes, and Hello Skinny. www.robertstillman.com

Born 1979 in Arequipa, Peru, and based in Churchtown, Dublin, Ireland, Seán Carpio is a multi-instrumentalist whose practice incorporates song, sound and improvisation. Since 2005 he has been active as a soloist in Europe and the USA, and to this date has featured on twenty recordings. Sean has collaborated with visual artists and practices in a number of contemporary art contexts and has performed, exhibited and undertaken residencies in a number of prestigious art venues including the Mattress Factory Art Museum in Pittsburgh, the Serpentine Gallery London, the MAC Belfast, Netwerk Centre for Contemporary Art Aalst, the Banff Centre Alberta, and the Model Arts Centre Sligo. Since 2006 he has been a member of the Project Arts Centre’s Project Catalyst, an initiative to present contemporary art to new and future audiences and through this initiative has premiered three newly commissioned suites of music. In 2013 he released his first album WoWos, “a determinist streak of nature loving excitability” (DIY Mag).  https://seancarpio.bandcamp.com/releases



Guitarist, sound artist and composer, Anders Holst is a part of the contemporary creative music scene in Denmark. He is continuously exploring the means of expression through sound, and seeking to disclose the many sonic and textural possibilities that his instrument holds. Recent works include his album Echoes Illuminating The Dark (Blackout Music), and a duo album with Mads Emil Nielsen (Clang records). He is also a member of the six piece electric guitar project ‘Cirklen’, and recently collaborated with Manuel Göttsching in an arrangement of his 1975 ‘Inventions for Electric Guitar’ for the ensemble. “In an evocative universe full of subdued poetry, Anders Holst breaks with the common guitar aesthetic to create his own expression” (Geiger) www.andersholst.dk

For all enquiries and bookings, please email horsesthemusic@yahoo.com

Image of Robert Stillman surrounded by instruments and his wife and daughter

“Stillman sounds as if he’s drawing on a deep reserve of sacred conviction.” AQUARIUM DRUNKARD

“Stillman is a composer with an innovative way of rethinking a creaky, generally neglected strain of Americana” UNCUT

“Stillman exhibits an enviable aptitude for quiet experimentation in his compositions, testing boundaries and taking subtle chances without alienating his audience.” DUSTED

Robert Stillman is a composer and multi-instrumentalist from the northeast United States. His music juxtaposes the archaic with the futuristic, incorporating influences of Jazz, Minimalism, American Folk music, and experimental electronic music to create a sound described by the Guardian Observer as “lending an avant-garde shimmer to pre-modern American sounds.”

Stillman has released 8 albums of his music, the most recent of which, Rainbow, (Orindal Records) has received praise from Mojo, Aquarium Drunkard, Uncut, and Other Music, and has been played on radio programmes such as Late Junction (BBCR3), Jamie Cullum (BBC2). 

He has performed his music at venues and festivals throughout the US and Europe, both as a solo act, and ensembles of various instrumentations. He has supported acts such as Deerhoof, Hauschka, Yo La Tengo, Dirty Projectors, and Casiotone for the Painfully Alone/Advance Base. He has also collaborated with visual artists Mark Garry, Sarah Magenheimer, and the Borbonesa publishing group.

The diversity of Stillman’s music reflects his varied musical life, which started with saxophone lessons in his native Portland, Maine at 11 years old. A move to Boston to study jazz introduced him to formative teachers (George Garzone, Danilo Perez, George Russell), as well as to like-minded colleagues with whom he’d later collaborate, including future members of bands like Glass Ghost, Dirty Projectors, Caveman, and Here We Go Magic. Upon arriving in New York in 2001, this circle of musical colleagues widened to include new collaborators like Luke Temple, Chris and Kurt Weisman, and members of the bands Grizzly Bear, Dirty Projectors, and Hiss Golden Messenger. Since relocating to England, Stillman has worked in bands led by Kit Downes, Tom Skinner, and David Okumu. He is also a member of the collaborative ensemble Bog Bodies, which will create a new work early next year during a residency at PRAH Foundation, Margate, funded by a Grant for the Arts from the Arts Council of England. 

Selected press (click on titles in red to see full clipping)


“Like the celestial phenomena of its title, the power of Rainbow is in Stillman’s ability to bridge the album’s weather-beaten foundations with elegant surges of brightness and colour. A remarkable achievement. ★★★★” MOJO

“An arcane and lovely piece of work…Stillman is a composer with an innovative way of rethinking a creaky, generally neglected strain of Americana” ★★★★ AQUARIUM DRUNKARD

“The US composer and mult-instrumentalist presents a brass-and-percussion requiem for John Fahey, which marches, staggers, waltzes, and floats with a euphoric, drunken dignity." (★★★★) MOJO

“(Station Wagon Interior Perspective) is a tibute to guitar soil master by another American londer-visionary… Stillman has been chipping away at an ornery, creaky vision of American 20th-Century fantasia, taking in the drunken lurch of late-night big band, the irrepressible freedoms of Charlie Haden’s Liberation Music Orchestra, and the visionary freedom of outsiders like Charles Ives and Harry Partch (8/10)" UNCUT


“‬Composer Robert Stillman’s sublime latest transmission sets wordless one-man band pieces conjuring a quaint Americana against mechanical collages…Like drifting off in a saloon bar reverie and waking up beside a locomotive engine. (★ ★ ★ ★ )" MOJO

“Stillman takes over-familiar totems of Americana asks you to hear them afresh.” THE GUARDIAN OBSERVER

“Machine’s Song is a creaky, uncanny music that creates an impressionistic ‬picture of old America” – UNCUT

“Listening to Robert Stillman’s extraordinary Machine’s Song is akin to stepping inside some half remembered dreamworld inhabited by fairground organs, player pianos and other antique musical automata.” – SHINDIG’S HAPPENING MAGAZINE

“It’s beautiful music that engages both the emotions and the intellect, and seems to exist at least partly in the shadows of memory, which is, perhaps, a bit part of what makes it such a rousing delight.” – THE HURST REVIEW‬

“At its foundation, Stillman’s work evokes images of bar brawls, oncoming trains, and wild gesticulations, but the loving romanticism of his narratives is infused with experimental touches that both examine and repurpose the legacy of early American music.” – THE PORTLAND PHOENIX‬

“Wonderfully sympathetic music that has the feel of Glass or Reich, whilst retaining an organic warmth.” – THE THE TERRASCOPE‬