Andrew Tuttle, based in Brisbane, Australia; creates an instrumental sonic convergence of improvisation and composition; and electronic and acoustic tones. Performed on instrumentation including computer, banjo, synthesiser and acoustic guitar; Tuttle’s recordings and performances encompass elements of abstract folk, experimentalism, soli guitar, kosmiche and minimalism.

Tuttle has released two full-length albums (Fantasy League – 2016; Slowcation – 2015) on the Someone Good and A Guide To Saints imprints of the respected Australian label Room40; with press/airplay/recommendations attributed to the likes of BBC, ABC, Rockerilla, AllMusic, Decoder, Amusio, Textura, Cyclic Defrost, A-Musik, Boomkat, 2SER, RTR, 3PBS, KAOS, WXYC, WFMU, RAI and NOK. 

Tuttle has performed at festivals including Dark MOFO (Hobart, AU), St Jerome’s Laneway Festival (Brisbane, AU), Melbourne International Jazz Festival (Melbourne, AU), BIGSOUND (Brisbane, AU), OtherFilm Festival (Brisbane, AU) and Sonic Masala (Brisbane, AU); and venues including Cafe OTO (London, UK), Gallery of Modern Art (Brisbane, AU), MONA (Hobart, AU), Institute of Modern Art (Brisbane, AU), Le Bourg (Lausanne, CH), 107 Projects (Sydney, AU), HeK (Basel, CH), Plunge (Milan, IT), Brisbane Powerhouse (Brisbane, AU), The Old Museum (Brisbane, AU) and Howler (Melbourne, AU).

Tuttle has shared concert lineups with artists including Matmos, Julia Holter, Forest Swords, Steve Gunn, Hauschka, Daniel Bachman, Gudrun Gut, The Soft Pink Truth, OM, Deradoorian, Pimmon, Omar Souleyman, Julian Day, Kris Keogh, Tralala Blip, Wixtes, Lumisokea, Monika Brooks, Marihiko Hara and Sparkspitter.

He has collaborated with musicians and sound artists including Matmos, Lawrence English, Mike Cooper, Blank Realm, Cornel Wilczek (Qua), Heinz Riegler, Inner Light (Smoke Bellow), Seaworthy, Kris Keogh, Joel Stern, Feet Teeth, Pale Earth and Sasha Margolis (Automating). Tuttle’s artistic residencies include EMS (Stockholm), WORM (Rotterdam) and Electric Dreams (Melbourne) and has been awarded by Australia Council for the Arts and Arts Queensland.

Prior to 2013, Tuttle primarily recorded and performed under the moniker Anonymeye.

When not creating music, Tuttle is an active participant in the Australian independent music community as an music administrator and freelance writer. He also has a strong love for cricket.



  • AllMusic: “His tones are sharp but rarely abrasive, and he applies a stunning array of effects and filters while retaining the music’s earthly, human qualities.”
  • Sonic Masala: “…on Slowcation there is a innate confidence in his efforts to splice and reorder sonic structures entwined with a subversive joy in overlaying bucolic whimsy and happenstance over synthetic currents that sets this above and beyond what he has put to tape in the past.”
  • Cyclic Defrost: “It is as close to an electronic ideal as you can one might expect.”
  • Decoder: “…plums a particularly rewarding blend of tone experimentation and occasionally more earthy electroacoustics.”
  • ATTN: “15 seconds into Fantasy League – the latest album by Australian composer Andrew Tuttle – a banjo springs into the frame, dancing jubilantly atop a slow-swelling drone, swaying over the synthesiser haze like plant life indulging a summer breeze.”
  • Flush The Fashion: “Andrew’s album is one of these creative passports that will take you to new places that you never knew existed. That’s not a bad start to the week, or the rest of your life.”
  • Tome To The Weather Machine: “In this synchronized swim between electronic and acoustic instrumentation, Andrew Tuttle is able to coax out the most sonorous elements of both – riding that golden mean where the two become indistinguishable.”
  • Textura: “…the meeting between analog and digital worlds: acoustic folk, in the form of picking, strums, and tremolo-laden shudder, and kosmische psychedelia, in the form of synthesizer burble that flows constantly through Tuttle’s tracks.”
  • Boomkat: “Curious mixture of dusty country banjo twang, drone and creamy kosmische with a sun-baked antipodean sensibility.”
  • Sound Doctrine “Whorls of guitar are overcome by droning rhythms, to be overtaken by thundering organs or fluttering electronic blips.”
  • TheMusic: “With washed-out sonic hums, episodes of spritely electronic melodies and even a banjo that gracefully alludes to Deep South bluesy folk without sticking out like the sore-thumb instrument it can often be, the Brisbane muso has created a lovely, wandering guide for contemplation.”
  • 4ZZZ: “Andrew Tuttle may have retired the Anonymeye moniker, but he’s still rocking that mix of ambient electronics and …banjo. As always, like a Blade-Runner / Deliverance double feature…”
  • Aural Aggravation: “the resultant output sounds like country music from another dimension.”
  • Dying For Bad Music: “I never thought there is something cosmic in banjo based music, but Andrew Tuttle proved me wrong. When I skipped through Brisbane I fell immediately in love with the frenetic banjo playing. But when those synthie sounds whooshing across the picture like little ufos, I felt the warm fuzz of the former days of knob twiddling, that got lost with all the rush of so called “Kosmisches Gedudel”.
  • Tone Deaf: ““Fantasy League is the new album from Brisbane-based producer Andrew Tuttle and it’s his best realisation yet for his intoxicating blend of modular synth melodies, folk guitar and banjo.”
  • Vital Weekly: “…He doesn’t do this at random, but carefully selected sounds that work well, either in the background or more upfront. It may seem, written down like a duo of weird analogue synth sounds and warm guitar picking, an odd combination, but it works well in the ten pieces here. An excellent release.”

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