Popping-in?

We designed our studio; it's filled with light and music. There are multiple meeting rooms, a well stocked kitchen, and an indoor garden (with fishpond). Pop-in for tea and stay to use a spare desk for as long as you need.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Public transport

We’re next to Greenwich train and DLR station. We have a door right on the concourse but it’s different to our postal address.

From Greenwich rail platform

This video shows the route to take from the train that will arrive at Greenwich rail station from London Bridge.

From Greenwich DLR station

This video shows the route to take from the DLR that will arrive at Greenwich DLR station from Bank.

By car

If you have to come by car, we have a couple of parking spaces in front of our studio. Call ahead to make sure they’re free, and use our postcode (SE10 9QF) to guide you in.

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We’d love to hear from you. Use whichever medium works best for you.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

New project enquiry

It's exciting to chat about potential new projects. We don't have a ‘sales’ team or a form to fill in. Call us or give us a little detail via email and we'll get straight back to you.

enquiry@cogdesign.com

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If you're a client then you'll be best served by calling us or contacting us via Basecamp, otherwise you can use this dedicated email that reaches all of the digital team.

digital@cogdesign.com

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accounts@cogdesign.com

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hello@cogdesign.com

Cultural Calendar

A round-up of recommendations and reviews, sent on the first Friday of each month, topped-off with a commissioned image from a talented new illustrator. Sign-up and tell your friends.

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Cog News

An irregular update of activity from our studio. Showing off about great new projects, announcements, job opportunities, that sort of thing. Sign-up and tell your friends.

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Matthew Herbert’s Brexit Big Band at Barbican

Matthew Herbert’s Brexit Big Band at Barbican

October’s Cog Night was at Barbican Hall for the spectacle of Matthew Herbert’s Brexit Big Band. Tom tells us what he thought.

On stage, Matthew Herbert looks something like a mix of mad professor and Bond villain. He’s known for ambitious, conceptual electronic music, often bordering on bonkers but always impressive. Tonight we were in for a treat – a full big band line up plus a massive choir. This was Herbert’s ode to collaboration, cultural richness and the importance imagination and art as a means of responding to the current political uncertainty we face, post Article 50.

Some of our team, posing outside the Barbican Hall prior to the show.

The night was compèred by the wonderful Charlie Dark. Before the main act, he had other guests to introduce (which was a bit odd as we’d seen nothing to suggest we were buying into that sort of variety).

I took full advantage of the relaxed atmosphere and went to grab a beer outside at the foyer bar.
Tom Rowlands

The two pre- ‘interval’ performances were from artists who used only their voices, a laptop and desk of pedals and looping switches. Cosmo Sheldrake showed off an impressive sample library that included Cold war recordings by US Military submarines of fish and the warped sound of a raven’s call. Fran Lobo looped an impressive bed of sounds that underlined her voice and songwriting to great effect.

Next up was announced as The London DJ Ensemble. Perhaps a dozen DJs, each queuing up a single track, from somewhere in Europe. With no mixing, it sometimes felt like we’d wandered into a house party, with friends showing-off their collections. After a couple of records, we all understood the format and started chatting and treating this as the interval. I took full advantage of the relaxed atmosphere and went to grab a beer outside at the foyer bar, listening to people’s conversations in the queue and walking slowly back to my seat.

Matthew Herbert looking with disgust at the Daily Mail (which he’d soon rhythmically destroy).

Interval over, Herbert took to the stage with a characteristically playful sense of humour. “All there is left to say is goodbye,” sang Matthew Herbert over the sound of a trumping saxophone (played by a man draped in a Union flag) as the band assumed the position of a jazz orchestra.

The presentation may have been humorous but the quality and depth of his Jazz ensemble and the 100 strong choir was no laughing matter. It’s worth mentioning that the London Brexit choir is made up of Community choir groups, Humanist and Gospel groups, the UK Japanese Music Society and the Borough Market choir. The International group of musicians were really enjoying themselves and R&B vocalist, Rahel, was fantastic.

The exceptional vocalist, Rahel.

We were very close to the stage (three rows back), maybe that added to the emotion of the evening. I definitely laughed out loud at least three times and, being a pseudo-percussionist, spent most of the show tapping along, furiously. At several points I stopped to check the other Coggers; I can confirm they all had wide grins on their faces most of the time.

the whole audience frantically rushed to make planes and launch them toward the stage.
Tom Rowlands

Highlights included music created by the sound of Daily Mail’s being ripped to shreds, Rahel’s voice being chopped and warped by Matthew Herbert as she sang a rendition of the Article 50 document, and quick changes of tempo from almost satirical right down to heart-wrenchingly sad.

As with many Matthew Herbert event, the audience played their part. We were instructed to clap together and to shout out our country of birth – each sound was sampled and looped back into the mix. It was orchestrated chaos of the highest quality.

Matthew Herbert, folding audience participation back into the mix.

The evening ended with a typically special Barbican moment. Herbert had planned to get us all to write messages to the people of Europe on sheets of paper, that we would then make into paper planes and throw at the stage through the last few songs. But he forgot. So during the final song, the whole audience frantically rushed to make planes and launch them toward the stage. It was an appropriately riotous finale, with messages of goodwill flying from a positively ‘remaining’ audience, apologising to our European friends.

Planes raining down on the stage.

Recommended listening:
Matthew Herbert, Leave Me Now
The Matthew Herbert Big Band, Turning Pages
Rahel, Easy