I’m on a flight back from Shannon, having done the second in a run of shows with Iarla O’Lionaird. I have been trying to learn a bit of Gaelic so that I know what he’s singing about. He’s one of my favourite people to play with partly because of the sheer depth of feeling and sincerity in what he does, and partly because he’s such a funny man. In rehearsal barely 8 bars can pass without comment, but as soon as he sings you are plunged immediately back into intense emotion, so it feels a bit like being repeatedly winched in and out of a warm bath. As we came off stage last night his analysis of the gig was: “well lads, some of that was very good, and some of it was… good enough!”

A few more things with Brian Eno this month. The David Byrne collaboration is being mixed in New York so there have been lots of subtly different versions of things flying around and being decided upon. Brian, Jon Hopkins, Pete Chilvers and I spent a week improvising and developing ideas for the film score we’re working on. Once again I was impressed by the lightness of Brian’s touch – the way he often sits back and creates an atmosphere where it all feels like a bit of a game, and in that fertile soil grow ideas which always end up sounding definitively ‘Eno-esque”. I spent most of the sessions with Brian’s cat sitting on my shoulder. After the first day I decided to wear 2 layers to minimise injury.

I’ve noticed a disturbing trend in sessions recently, exacerbated by the proliferation of laptops: everyone (myself included) is fiddling around on the internet whenever not required to work. I walked into a David Holmes session a few months ago and everyone (except me) had just got iPhones. There was depressingly little conversation that week. In Brian’s studio a group email was sent out by Pete to test who was most neurotic about checking their email. I’m ashamed to say that I lost, although I maintain that it was just unfortunate timing.

The Eno/Hancock collaboration is proceeding well; I’ve begun to mix some of the tracks and am arranging for various vocalists to contribute. I came across a great Tuvan throat singer in a band called Yat-Kha, and got in touch with their producer Lu Edmonds. What an inspirational character he is. He came over and played me recordings he had made in the mountains of Tajikistan (which are virtually inaccessible most of the year), in minus-30 degree temperatures. The music was unlike anything I had ever heard – ancient Sufi texts incanted over rhythms and harmonies I could never have imagined, and could barely decipher. It was a true ‘exploding horizons’ moment – that rare occasion when music speaks directly to a part of you that you never knew was there. I’m going to mix some of it for Lu, and since hearing it I’ve felt more inspired than I have in ages.

Lastly this month, I did some recording for film composer Jody Jenkins, and did a few writing sessions with singers. One was Valentina who blends 60s psychadelia with hiphop. Another was Beth Rowley, who I produced a track for a few months ago. She can paint so many different characters with her voice, and she had a wonderful treasure-trove of developing ideas hidden away in her laptop, which were very original, charming and unsettling. I also helped my friend James Wolff record some new songs of his. He’s like the English successor to Jacques Brel and I urge anyone reading this to check him out: www.jameswolff.com

This month I’ve been working on the new Eno/Byrne record, which is now on the way to being mixed. Brian handed me all the files and I started off by collating all the different versions that had sprouted up; he and David had been working separately on different versions of the same song. Once the right version was agreed, Seb Rochford came down to my studio to put drums on everything. As with every time I work with him, he completely blew me away. Particularly remarkable is the way he tunes his kit to each track. All drummers are supposed to do this, but he gets it so right that his drums always sit inside the track perfectly, which was particularly important on this record as there were so many crazy loops and bits of percussion already on it. Brian came to the studio for a couple of hours and, after generally approving things, made a number of brilliant rapid-fire suggestions that completely changed the feel of some of the tracks. We went to the local pie-n-mash place (G. Kelly’s - an East End legend - slightly surreal seeing him in there) and got drenched on the way.

The next stage was editing all the drums to sit properly with the programmed bits, which took the best part of a week. Then I started going through all the sounds doing the same to them. Since then I’ve been playing extra bits of guitar, piano and percussion, and emailing back and forth with Brian and David, putting in all the last bits that need to be added. David is incredibly fast delivering his vocal takes (which he’s been emailing from New York), and it’s a real pleasure to go sifting through them - he’s such an eccentric singer and the gaps between verses are often filled with joyful little ‘whoop’s and interjections, and sometimes the unmistakable honks of a New York taxi, which magically always seem to end just in time for when the singing starts. Bizarrely I’ve only actually met him once, when he came to London a couple of weeks ago. We got to have a guitar jam together on one of the tracks, and the same day I helped Brian layer up his trademark choir of manly vocals. It’s always lovely witnessing him do that, and especially so underneath David’s voice - the two together is such a familiar, classic combination. So now I’m preparing all the files for mixing, which is fairly grunt-like but I definitely feel like a privileged grunt.

I did a couple of concerts this month called Daughters Of Albion, which is like a mini-festival of female folk singers featuring Norma Waterson, Kathryn Williams, June Tabor and several others. I was filling in for David Coulter, and if ever there was a terrifying person to have to fill in for, it is he - he plays everything from the mandola to the musical saw. So I came duly armed with hurdy-gurdy, mandolin, bouzouki, guitaret, bandura and guitorgan, and had a great time making strange sounds and playing beautiful folk music. It all felt very relaxed (especially considering it was put together so quickly), and a few times during the concert I was lost in the music and completely forgot I was doing a gig.

I also did a show of my own in Brighton, the first for nearly a year. I decided to minimise the looping trickery and do most of it on acoustic, and it was a much more pleasurable, musical experience. I’m planning to do a lot more shows around the time of my next record. And last night I played with Peter Schwalm and a video artist called Sophie Clements. My part was completely improvised but I took all my cues from the visuals; it was a new thing for me responding to sound and vision at the same time, and it seemed to take a lot of the potential bullshit out of improvisation - the sounds have to compliment what you see and the notes compliment what you hear, and the music seems to flow out really naturally.

Lastly I did a bit of work with Jon Hopkins on the film we are doing with Brian, and had a few days in the studio with Claire Nicolson, putting guitars and strings on her album and producing a couple of tracks that I wrote with her. It was a bit of a rush job but turned out well - mostly thanks to the drummer, Phil Wilkinson, who creates wonderful atmospheres with the simplest patterns, and who hits an empty suitcase with a brush instead of using a kick drum.

The ‘roast up the Matterhorn’ referred to last month went ok in the end, although after a 36 hour journey it was somewhat frustrating to have to travel the last leg in a tiny electric-powered wagon (the town of Zermatt does not allow cars). I was looking forward to going up the mountain, but the only day we had time to do it, the whole mountain was closed due to adverse weather conditions (fog). Incidentally, Zermatt has 2 graveyards - one for the locals and one for tourists…

Flying home from Londonderry. I’ve been filming a dvd with the Irish singer Cara Dillon. It was a pretty idyllic session, situated not in a dark studio but the drummer’s house which sits on the edge of a vast loch in the middle of nowhere. The other musicians were amazing; folk players are always so generous and eager to join in with each other at the drop of a hat. In between takes, most musicians (myself included) tend to twiddle away to themselves; with this lot you could be just tuning your guitar and someone would pick up on it and turn it into a song.

I did a lot more work on the Brian Eno/Herbie Hancock collaboration this month, recording drums with Seb Rochford (of Poalr Bear and Acoustic Ladyland). He is a quite extraordinary drummer, a fountain of invention with an admirable aversion to playing the ride cymbal, except when absolutely necessary. He has a unique feel and his parts are very melodic, which is pretty difficult on the drums. We also worked on the David Byrne recordings. Brian was on hand half the time, creating the same good feeling he does wherever he goes, and showing us a few neat tricks too – when it looked like we were about to spend hours searching for the right snare drum sound he came up with an immediate but unorthodox fix: turning it upside down. Now I have a lot of takes to edit, but it’s absorbing work and good fun. Going through things at Brian’s studio last week we got a bit distracted when his cat Kofi started purring in time to the music, so we put a microphone up to his neck and recorded him. The sound was unexpectedly fearsome and according to Brian Kofi is now threatening to go solo.

There were some other sessions this month, starting with David Holmes in Ireland. His new record is about to be mixed and he asked me over to Belfast to put on a few last touches. It’s been about 3 years in the making and has gone through many transformations; I’m very happy for him that it’s nearly finished. Then I went and had a day recording with Guy Chambers (he’s the guy that wrote all Robbie Williams’s songs). He’s doing something of his own, quite experimental, and I had a great time jamming over long funky improvisations in his eye-wateringly well-equipped studio. I brought along my guitorgan, which he specifically wanted to hear, but it broke immediately. I also did some recording at home for an Icelanic artist called Bergmann – kind of epic soundscapey stuff. And I wrote a couple of songs with Florence And The Machine. She had recently suffered a burnt leg and started singing (about her boyfriend) ‘You looked so handsome when you took me to the hospital’, which I thought was a very promising start to a song.

Earlier this week my new record ‘The Unrest Cure’ was released. I had single of the week on iTunes with ‘City Machine’, which was an incredible break and also rather bizarre as I am not accustomed to that kind of exposure. Having KT Tunstall on vocals must have helped! It was somewhat nerve-racking to be exposed to the star-rating system, which of course I couldn’t resist checking, and in the end the song acquitted itself fine – though I had to hand it to the guy who slagged it off in the most economical way possible (‘shitty machine’). It seems like an extremely long time ago that I finished that record, and I’m happy that now it has found its way out into the world. The same week, I finished my new one ‘The Grape And The Grain’, which is an instrumental folk album. A few cello and piano overdubs, a few days mixing, and it was done – after a year and a half of sporadic endeavour. I’m really proud of it, partly because it features the first proper outing for my hurdy-gurdy.

And finally, some American insurance company picked up one of the songs off my first album ‘Honeytrap’ for a tv ad. It’s just 15 seconds of plucked guitar, but these things are quite a blessing. At first they said it sounded ‘too twangy’ so I had to re-record it with a less twangy kind of guitar; then they accepted it, which was a major relief. It felt strange reopening the files on my computer from years ago, but the whole thing was like being given a gift from the past or something, and it made me think that even if I didn’t reach that many people with it, that record will continue to have a life.

This month started off with a session for a cat food commercial, during which I had to make miaowing noises with my slide tube, to coincide with the lucky feline’s face looming into view. While I was there, for good measure, they got me to do some morris-dancing music too. It was all surprisingly satisfying, requiring a certain amount of precision and a quick response to demands - everything in that world has to be done at light speed, and I left the building feeling pleasantly like a professional musician.

I have been working quite a lot with Brian Eno, helping him out with a really exciting collaboration which he probably wouldn’t want me to discuss. But it involved my taking the master files home, tidying them up, adding drums and guitars, and bringing them back for further tweaks. He has so much amazing stuff milling around in relative chaos on a multitude of hard drives, and today I took away another load of stuff which I shouldn’t mention, to try and edit into shape while I’m on tour next month. Watching him apply effects to a sound is a fascinating experience. He does all the things that a trained engineer would recoil from and deem ‘wrong’ - things most people would not even bother considering. But it invariably comes out sounding marvelous, and typically ‘eno’. And he is just such a sweet, kind , funny (and yes of course, that dreaded word - interesting) man. I also never tire of witnessing him build up his trademark wall of vocal harmonies - no headphones, wandering around the room in front of the speakers projecting his benevolently manly, and above all English, voice.

Apart from that, and quick sessions for Jon Hopkins and David Holmes for their new albums, I’ve been working on a new record - The Grape And The Grain - a follow-up to Honeytrap on Just Music. It has been really hard going, and at one point I nearly deleted the lot, despairing of it and having consulted colleagues and girlfriend with fairly desultory results. But at the last moment I decided it was worth a final effort, and I spent several days locked in my basement studio with only a hurdy-gurdy and piano for company. Eventually things started to come back to life and now, with the sage advice of my dear friend Steve, and a few tracks duly culled, I think things are back on track. For me the lesson has been to not play anything to anyone until it’s ready, and also when things are slightly crap, to admit it to myself instead of trying to hang onto what few good bits there are. And above all it’s been great to be able to spend so much time on my own music, especially when the rest of the year is now spoken for.

As soon as I got off the Bryan Ferry tour I repaired to my basement to produce an album by the Smoke Fairies. It took all month and was a wonderful experience. They are a folk/dark bluegrass duo who sing and play 50s guitars. Recording it was sonic heaven, creating an intimate forest of plucked strings over which I played hurdy–gurdy, accordion, mandolin and harmonium. An intense period musically and psychologically, but I am really pleased with the results. Now they just have to find themselves a deal!

Then I had a bizarre couple of days doing sessions for an upcoming children’s cartoon series in which all the characters are in bands and fight each other with magical rays that emanate from their instruments (this is set in the future by the way). Each one had to have their own personality, which was great fun to design, and I got to dust off an utterly tasteless 80s monstrosity of an electric guitar which hadn’t seen the light of day for some time. The project is the brainchild of Magnus Fiennes, a genius programmer and film music guy who seems to somehow juggle hundreds of projects at once. I also did a little gig with Ed Harcourt at the legendary Ronnie Scott’s to mark the release of his Best–Of. As always it was like a warm, unrehearsed family reunion.

Finally there is a release date for my new record The Unrest Cure – January 21st. These things take time! So there is suddenly lots to do, from making a video of interviews with all the guest singers (and myself), to editing the Bingo Gazingo footage that I shot in New York and having meetings with another round of truly dynamic individuals in glass offices who have it with in their power to do wonderful things or, um, forget about me completely. A short update considering it’s been a while, but maybe that’s because I’m really satisfied with what’s been going on the last few weeks, and I don’t feel so compelled to try and make much sense of it.