Flicker started as the brainchild of George, chief composer of the project. He had various spare instrumental pieces that were left over after various bands had not managed to put lyrics to them. Some of these were electric guitar pieces and others were acoustic pieces that were the results of his experimenting with non-standard tunings. Rather than just throw them away, the plan was to try to produce them as the musical pieces which they were.

Flicker’s central idea became the creation of beautiful evocative instrumental music for film, TV and computer games. Several people had commented over the years that this tune or that one would make a great theme tune for such-and-such.

The band was feeling rather disillusioned with the music industry as a whole, which seemed overly obsessed with the idea of image rather than focusing on the music itself. The content of much commercial music at the time of the formation of Flicker seemed to be very heavily censored. The rules were that it must be of a certain length and of a certain formula, using particular types of sounds or instruments, for it to be played to and accepted by large audiences. Flicker felt that much of the modern ‘music’ industry was far more akin to the soft porn industry than anything to do with music. It was as if any kind of display of virtuosity or originality, or stepping outside of the boundaries of the censorship, was frowned upon.

Being reluctant to take up miming and being handicapped by obviously being rubbish at music due to having grown beyond the teenage years, Flicker was seen as a way forward. Flicker felt that looking young and cute was not so important for making music for media where the makers of the music go largely unseen. Especially when the nature of such media may require music that is a little different to the diet of homogenised mainstream ephemera manufactured by the industry’s big players.