David Van-Cauter performs his topical poem, with ascerbic and justified bile directed at Kier Starmer and a warning to Andy Burnham. (NSFW) Track available here: Bankrupt (NSFW) | David Van-Cauter & John Callaghan | John Callaghan

#extradirty
Monterey Bay Aquarium

Kiana Khansmith
ojovivo
almost home
Mike Driver
todays bird
Today's Document

No title available

ellievsbear
No title available

Love Begins
Cosmic Funnies
h
Sweet Seals For You, Always

pixel skylines

shark vs the universe

Origami Around
Noah Kahan
The Stonewall Inn
seen from Switzerland
seen from Chile
seen from United Kingdom
seen from United States
seen from Ecuador

seen from United States
seen from United States
seen from United States
seen from Saudi Arabia

seen from Türkiye

seen from United Kingdom
seen from Latvia
seen from United States

seen from United States
seen from Norway

seen from Malaysia
seen from Spain
seen from United States
seen from United Kingdom
seen from India
@johncallaghan
David Van-Cauter performs his topical poem, with ascerbic and justified bile directed at Kier Starmer and a warning to Andy Burnham. (NSFW) Track available here: Bankrupt (NSFW) | David Van-Cauter & John Callaghan | John Callaghan
An interview about my show at the Camden Fringe 2026
'Breath' has won two awards
'Breath' has won two awards at the Bloomsday Festival in Dublin! Film Festival Award Winners 2026 - Bloomsday Festival
Judges comment: A real gem, this poetry short was captivating from the beginning. With the very clever use of simple graphics, we are brought on a painful journey of a failed pregnancy, told unusually from the father’s perspective. Very touching and memorable, a very worthy winner.
(TW: pregnancy loss)
New song! "False Flag", with Ashleigh Cole
I produced this track for Morlvision, an alternative to Eurovision away from the mainstream. Sean Morley Ashleigh Cole was kind enough to help me out. http://instagram.com/ashleighc_91/ I wrote a short description of how I came up with the track on the Morlvision Discord: Apparently my prompt was from @2020mono_db, so thank you to them! Although I tend to avoid writing overly political lyrics for my songs for fear of sounding trite, I was angry about the pro-fascist march in London the week before I sat down to this project and wanted to vent about that. I only discovered that the obsidian mirror was a real thing after I'd already prepared the lyrics, but I'm happy with my interpretation of it as a C16th equivalent to Black Mirror (hence Charles of the Brook = Charlie Brooker. Hey, I wrote this very quickly). The barking vocal idea popped into my head and so I prepared lyrics where every second syllable rhymed in a -A-B-A-B pattern. The good thing about a limit like this is that it forces me to write, and take anything I can come up with. Normally I'd spend forever preparing the lyrics and they sometimes take literally years while I wait for the muse to grab me. And of course it never does, so I end up writing them quickly anyway, just after a delay of a couple of years. So in this case quick = good, and rules to write by help. Those words were sequenced in order as an image sequence, which was then used as a texture on a flag I made in Blender. The maps were also prepared in Blender, with a displacement modifier raising or lowering the map's surface based on a depth map (which originated as a height map of the UK, so the mountains are vaguely accurate). Ashleigh is an actress friend of mine who was very helpful and obliging, and sent me a couple of wonderful takes very quickly.
My Brighton Fringe show this year! I'll be performing at the Caroline Of Brunswick on 16th (7pm) and 17th (5.45pm) of May! Here's a promo video that was filmed by Robert Bettelheim. John Callaghan's Cabaret Electro - Brighton Fringe
Pathetic Asexual Lump
I'm more pleased with Pathetic Asexual Lump than I was anticipating. The music I'm normally proudest of is my 'proper, art' songs (such as can be found on my albums It Might Never Happen,
If Every Day Were Like This One,
and Thought Soup.
They're the pieces that take the longest, too. Other music I make tends to be done faster and often has a sillier edge. PAL started life as a sequel to Sexy Sex,
as I had lots of daft quotes left over and kept accruing more. When I began putting the quotes together in a catchy collage, I noticed that the track was becoming a commentary on how media bombards us with suggestive and sexual content (the 'verses'), as a contrast to how I actually feel (the 'choruses'). I began enjoying the track so much I wanted to make a video… but I didn't want it to be one of those 'proper' videos that cost me money. I also didn't want to simply use the original video clips that were the sources for the voices. My original idea was to create a testing centre for 'sexy' music videos. I could pastiche music videos that were intended to be sensuous or sexy, but made with test robots. (It's a cliche of course that asexuals often feel represented by aliens and robots, and I'm no exception to that, but I had a model of a crash test dummy I could use.) The joke would be that in each case the video situation isn't ready and things start going wrong. I had an image of a crash test dummy twerking, but its bottom comes loose and starts vibrating on the floor off on its own for the remainder of the video, for instance. Or there could be shots of dummies embracing as ocean waves crash around them, or dummies dancing at the Moulin Rouge. This all seemed like a lot of work to get something that would hold the viewer's attention for over four minutes! So I had another idea: take a public domain film, preferably a romance musical, edit it to four minutes, and then use a lip-synch program to make the actors say all the ridiculous quotes on the track. There'd be an amusing mis-match between what the actors were performing and what was happening in the music. However, I quickly discovered that I couldn't do this and make it look half-way decent, so the joke was lost. I still think it's a good idea. Eventually, I found a website called Playphrase.me. One can put a quote in, and it'll find you some clips from TV and films of people saying those words. That appealed because it re-contextualises the video sources, just as the music has re-contextualised the sound sources. That wouldn't work for the repetitive choruses, though, so I went back to my 'sexy video testing centre' idea for those sections. I found it interesting that the actor's mouths don't always seem to match the words. This is because the sound sources mainly had British accents, and the clips were usually from the USA. The differing pronunciation between UK and US vowels often require different mouth shapes. I moved the video clips so the mouths were always in the centre, as otherwise the viewer's eye doesn't have enough time to dart around the screen to see the actor saying each line. It also might be worth noting that I'm no cineaste, and have seen hardly any of these films and TV shows. Possibly the thing I should make the most fuss of, though, is that I started making both the music and the video during evenings when I felt I hadn't got anything useful done that day, and I wanted something at least to show for it. So there's maybe a lesson for myself there. PAL is a track from my new music collection!
https://johncallaghan.bandcamp.com/album/cortical-charabanc-vol-3
Making Of "Get On Your Box"
Here's a making-of video for my Get On Your Box music video!
Squirrels! The new video by Rev Simpkins, directed by me! It's to promote his wonderful new album Headwater, released on June 6th (and I'll be playing a support slot in Colchester that night, with Rev Simpkins headlining).
Credits:
The movements and the basic Sandra model are from Mixamo.
Images from Unsplash: Transly Translation Agency, Geranimo, Shane Young, Radoslaw Prekurat, Oleksandr Kuzmin, Cesar Gamez, Martha Dominguez de Gouveia
From Pixabay: Engin Akyurt, Okaami, Nicolas Solerieu, Lukasz Szmigiel
Models from Blendswap: Control panel by THEREALDUSTIN https://www.blendswap.com/blend/25217 Machine by Jumpup https://www.blendswap.com/blend/28416 Average Symbols Font by memesbruh03 https://www.dafont.com/aaron-d-chand.d6569 Trees https://www.blendswap.com/blend/30660 by masluch Rock https://www.blendswap.com/blend/19231 (I only used the rock) Cage https://www.blendswap.com/blend/19743 (by Starkerg) Fender https://www.blendswap.com/blend/24629 by Bee-Jay
Reanimate Me remix
Progressive Station and I produced a track together and here's my remix!
Part Of Your World: EP by Me And John Callaghan
A new EP and video by Me And John Callaghan. Me is an electronic musician from Germany, and I performed at his wedding. :)
Here's the EP: Part of your World (Cab 20)
New album: THOUGHT SOUP! New video!
New album! New video!
THOUGHT SOUP - new album!
Thought Soup | John Callaghan
My instinct is to let the music speak for itself, but I worry that it would be submerged in the media ocean. Also, 'new album' is just two words, but for me it's a huge deal. Some of the songs on this collection were started ten years ago. For all that time, the album has been occupying my headspace. If there was ever a moment when I wasn't doing anything, then I was supposed to be working on my album. My brain needed defragging and the space needed cleaning out for new projects. I'm thinking of storing my spare change in there. So in an attempt to attach a coloured buoy to it I'm writing a little piece here. What is there to say, though? For me, the music does speak for itself. It's probably a truer representation of my thoughts and feelings than you'd get in a conversation with me. Time and again I write songs only to realise that they are the expression of some subconscious working-out that wasn't finished enough to bubble to the surface yet. For instance, I wrote Truly, Madly, Just Me before I adopted the label 'aromantic'. I'm suspecting now that I may have certain autistic traits, and there's a song I wrote about that, too. Another thing that makes me wary of commentating on my songs is that I don't want to fix an interpretation in the listener's mind. So I'll talk a little about the production instead. My thinking was to produce a more collaborative suite of songs than usual, rather than having every sound prepared by me. However, by the time I'd finished incorporating Alan, Namtao and Kate's performances they'd been processed to blazes anyway. This is not in any way to denigrate their kind contributions! It wouldn't sound the same without them. But it does all sound like a wander through my mind, and the library of memory collages I keep in there and the distorted and tinted windows I look out at the world through. And the video? There'll be more on that in due course (including a behind-the-scenes making-of!). It seemed sensible to promote the album, and after lockdown I'd missed making videos with my friends. So I went to town on this one. It's the most expensive thing I've ever made, and took eighteen months to edit. Two similar phrases: art is never finished, only abandoned (attributed to Leonardo da Vinci); and 'perfect' is the opposite of 'finished'. I sincerely hope you enjoy this new suite of music, and find it interesting.
NEW SONG: Reanimate Me with Progressive Station
An exciting collaboration with Progressive Station in Ukraine!
Forgiveness EP! New video!
I've just released two new songs on Bandcamp... Forgiveness EP | John Callaghan (bandcamp.com)
and I've got a brand-new video, too!
The inspiration behind the video was that I wanted something to make the recorded voices clear when I performed Forgive Yourself at the Camden Fringe ("Head! Said! Guilt! Built!"). This gave me the idea of a little devil inside someone's brain, but rather than tormenting them with a pitchfork, they were doing a fabulous dance number with the lyrics shown on a display board.
I'd also had the idea of the figure trapped in a well tied down by balloons to illustrate the song. My priority was to do it all quickly, which was refreshing. The "Get On Your Box" video was filmed last May and I'm still only half-way through editing it. The motto for this project was "finished is better than perfect!" Having the last word of each line being a recording in a different voice also came from doing Forgive Myself live too. The lyrics were too relentless to perform them well, so I separated the last word of each line to give me a chance to breathe - and then decided that I much preferred that sound.
"Let Me Try It Again" is another song I finished recently, and seemed the logical track to accompany "Forgive Yourself".
I'm performing at the Camden Fringe and here's a promo clip I made for it. It's my first time using FSpy, which is an application that assists you in making models based on location photos using Blender. Expect a lot of videos set in easy-to-replicate spaces like empty car parks, tube stations etc!
Bit of a silly one, this. Production Crate.com have a monthly visual effects competition, and for June 2024 the theme is "Super Punch". Here's my take on the idea.