A.J Moore and Nick Rundall are an acoustic guitar duo who defy easy
categorisation. Blending exquisite dual guitar arrangements with original songwriting they draw inspiration from many genres as they attempt to
expand the horizons of what an acoustic guitar duo can be.
Featuring the stunning angelic voice of A.J along with Nick’s contrasting low timbres, the stylistic variety of their songwriting has emerged from A.J’s story telling approach and Nick’s personal and reflective style. Many of their compositions feature deceptively complex musical ideas whilst never feeling forced or unnecessary. As Nick likes to say “it’s like the rain, if you look for every drop it is infinitely complex, but as a whole it forms a simple beauty”. As lifelong guitarists and self confessed music fanatics, it was of paramount importance that the guitar arrangements displayed the necessary flare and
inventiveness which are the duo’s hallmark. A.J as a classical & folk guitarist and Nick from more of a rock and jazz background, both bring forth differing compositional approaches, which, when combined create something quite unexpected and unique.
Acknowledging their obvious instrumental appeal they enlisted respected cellist,
Bryony James to reinterpret the vocal melodies for special instrumental versions. The presence of Bryony’s lyrically expressive playing, bestows in the absence of actual lyrics, the opportunity to fully appreciate the detail and beauty of the guitar parts.
After originally meeting in 2004, the blueprint for the duo’s sound started with their
arrangement of A.J’s song ‘Beautiful Eyes’. This collaboration seemed to stick as being the definitive version of the song, whilst epitomising many of the qualities the two
musicians aspired to create. Time passed, and so did many other musical projects, yet the pair always came back to the idea of beautifully intricate and detailed guitar
arrangements, with dynamics more associated with classical recordings than
Over a two year period they wrote and arranged material and experimented with
different recording techniques. As ever, the devil is in the detail, and often whole recordings would be scrapped if improvements could be made. You can’t be precious when you are trying to realise your potential as a player and neither would deny having gained a certain acumen in the process. New levels of patience and focus were achieved which, now the album is complete, will inevitably form the baseline for all
future efforts. For all the joy that playing and listening to music brings, the forging of a worthy recording is a pure and focussed task, as has been discovered.