Colin Riley ‘doffs his cap to the contemporary classical genre but also manages to stand alone in that genre as a unique indie voice’ (BBC Radio).
My music draws on a range of elements from intimate chamber pieces, to new technologies, improvisation, song-writing and large-scale classical form. It crosses many boundaries and I do a lot of collaborating.
2025 saw the release of two albums. A choral album Along The Line with Pegasus chamber choir features soloists Gabriella Swallow (cello) and Gloria Rappo (harp). The Year Round is an intimate collection of songs, one for each month, created for (and with) Melanie Pappenheim.
Another album Ocean Songs is just out; a collaboration with lead singer of Goat Girl Lottie P. It features writer/activist George Monbiot and scientist/writer Helen Czerski, and one of several projects from my production company (with Violist Nic Pendlebury), Sonic Collaborations. On 30th October I’ll release an album of chamber music ‘Ones Twos and Threes’ supported by the PRS for Music’s Composers Fund, the Hinrichsen Foundation and the Vaughan Williams Foundation
Important pieces include Warp and Weft a concerto for 2 cellos (Gabriella Swallow / Guy Johnston), Rock Paper Scissors (Ensemble Bash), Earth Voices (Helsingborg Symphony Orchestra, Sweden), and song cycle In Place. My large-scale multi-media orchestral piece Hearing Places was recently premiered by the BBC National Orchestra of Wales to excellent reviews. ‘Witty, inventive music of ear-tickling inventiveness’ (Daily Telegraph). I have also composed a huge body of piano music, some of which is on Matthew Schellhorn’s new album Odd Sympathies.
My latest work is Broken Line (string quartet and fixed media) for the RIOT Ensemble, incorporating AI and the song of the blackbird, and will be premiered in Spring 2027.
I am ‘Reader in Music’ at Brunel University, I run my own label Squeaky Kate and I write a regular blog about composing, teaching (and other things) called Riley Notes. I am also a member of the Place Collective.
What people say …
“Colin writes stunningly for acoustic instruments and the individuals who inspire him - intimate, energetic and (rarer still) heartfelt - carefully melting contemporary playing and notational techniques into a language of beautiful, relatable complexity. He is often drawn to letting his music carry messages of deep human connection with the more-than-human world, and his skill for placing these ideas into sonic vessels that slip between genres, blurring technology and text with assured compositional craft is a rare mercurial spirit in the classical world.” (Jack McNeill – musician/composer/improvisor)
“Every note feels as though it grows from a deeply musical instinct, with the musical idea always coming first. Ones, Twos and Threes is full of wit, subtle invention and beautifully judged pacing. This album is thoughtful, inventive, and endlessly listenable, revealing new details with every hearing. In fact, it’s become the soundtrack to my summer! (Gabriella Swallow - musician / ISM President)
“Colin’s projects are always innovative and routed in current thematics, while being engaging for and accessible to audiences. Part of his appeal is that he is an inherent communicator, de-mystifying new music to audiences with ease, which is extremely important when trying to attract new audiences. His music and this inclusive attitude to communicating deserves to be more widely accessed.” (Fiona Robertson – Artistic Director, Sound Festival Scotland)
“Colin’s music defies categorization—his voice is truly unique. His ability to captivate an audience is exceptional, drawing listeners into a state of rapt attention, eager to hear what unfolds next. Few composers engage audiences as Colin does. His music lingers in the mind, creating thought-provoking experiences that resonate long after the final note” (Jean Johnson – musician)
“Colin’s music was pitch-perfect for the Cutty Sark Soundscape project: immersive, atmospheric and subtle enough to blend seamlessly with the ASMR-like sound design. He has a strong ability to balance artistic ambition with audience accessibility, adding emotional depth without overwhelming the listener. (Hans Biorn-Lian - Digital Programming and Partnerships Lead, Royal Museums Greenwich).