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'Silence Is A Rhythm Too' is out now on Denovali Records: http://denovali.com/matthewcollings/
Collings's work contrasts the crushed guitars and textures of My Bloody Valentine or Sonic Youth with structures more akin to contemporary classical composers like Steve Reich or David Lang. In his powerful live performances, he uses the amplifier as an instrument and the guitar as a control device for innovative digital processes. Using numbers of 'prepared amplifiers', he coaxes unique sounds by placing bells, rice and wood directly onto the speaker cone and manipulating the physical vibrations with his fingers, producing a highly visual and physical performance.
These approaches a viscerally demonstrated on his debut full-length release 'Splintered Instruments' (2013). This music is textural, melodic and often sonically overwhelming.
He received an ALT-W award from New Media Scotland in 2012 for 'The Third Mind', an algorithmic cinema performance and installation with Erik Parr, premiered at sell-out shows at Glasgow's Centre for Contemporary Arts (CCA). He was recently invited to participate at the 50th Design Biennial in Ljubliana, Slovenia (2014).
His work for films includes a specially commissioned live score for Dziga Vertov's 1929 silent classic, 'The Man with the Movie Camera' for the Reykjavik Design Festival (2010) and an invitation to work on 'The Invisibles' (2010), a commission from Amnesty International with Ben Frost, featuring Gael Garcia Bernal. His score for Hákon Palsson ́s film 'Guilt' was recently performed at the opening of the Glasgow Short Film Festival.
His work has also featured in Installations at Glasgow City Halls (2011), Glasgow Royal Concert Hall, Dundee Neon Digital Arts Festival (2010, UK), Burning Man Festival (2010, USA), Chattanooga Gallery of Contemporary Art (2010, USA), Icelandic Academy of Arts (Iceland, 2009) and Manipulate Festival (UK, 2011).
He has performed alongside many respected artists in his field, including Tim Hecker, Ben Frost, Chris Corsano, Nico Muhly and Jasper TX.
He is currently developing an audio-visual 'opera' for strings, clarinet, electronics and real-time visuals, entitled 'A Requiem for Edward Snowden' (2014)
SELECTED PRESS
'an elemental whorl of electro-acoustic (de)composition' - BOOMKAT.COM
'creates a world of its own that envelopes the listener and provides a playground for the imagination, a theatre stage in surround sound' - FLUID RADIO
The music on Splintered Instruments is both rough and beautiful.This is not about noise or the decibel levels (although I do recommend you listen to this album loud) – it’s about the sheer uncompromised approach to raw sound design…The final result is somewhat unclassifiable. - HEADPHONE COMMUTE
'Silence Is A Rhythm Too' is out now on Denovali Records: http://denovali.com/matthewcollings/
Collings's work contrasts the crushed guitars and textures of My Bloody Valentine or Sonic Youth with structures more akin to contemporary classical composers like Steve Reich or David Lang. In his powerful live performances, he uses the amplifier as an instrument and the guitar as a control device for innovative digital processes. Using numbers of 'prepared amplifiers', he coaxes unique sounds by placing bells, rice and wood directly onto the speaker cone and manipulating the physical vibrations with his fingers, producing a highly visual and physical performance.
These approaches a viscerally demonstrated on his debut full-length release 'Splintered Instruments' (2013). This music is textural, melodic and often sonically overwhelming.
He received an ALT-W award from New Media Scotland in 2012 for 'The Third Mind', an algorithmic cinema performance and installation with Erik Parr, premiered at sell-out shows at Glasgow's Centre for Contemporary Arts (CCA). He was recently invited to participate at the 50th Design Biennial in Ljubliana, Slovenia (2014).
His work for films includes a specially commissioned live score for Dziga Vertov's 1929 silent classic, 'The Man with the Movie Camera' for the Reykjavik Design Festival (2010) and an invitation to work on 'The Invisibles' (2010), a commission from Amnesty International with Ben Frost, featuring Gael Garcia Bernal. His score for Hákon Palsson ́s film 'Guilt' was recently performed at the opening of the Glasgow Short Film Festival.
His work has also featured in Installations at Glasgow City Halls (2011), Glasgow Royal Concert Hall, Dundee Neon Digital Arts Festival (2010, UK), Burning Man Festival (2010, USA), Chattanooga Gallery of Contemporary Art (2010, USA), Icelandic Academy of Arts (Iceland, 2009) and Manipulate Festival (UK, 2011).
He has performed alongside many respected artists in his field, including Tim Hecker, Ben Frost, Chris Corsano, Nico Muhly and Jasper TX.
He is currently developing an audio-visual 'opera' for strings, clarinet, electronics and real-time visuals, entitled 'A Requiem for Edward Snowden' (2014)
SELECTED PRESS
'an elemental whorl of electro-acoustic (de)composition' - BOOMKAT.COM
'creates a world of its own that envelopes the listener and provides a playground for the imagination, a theatre stage in surround sound' - FLUID RADIO
The music on Splintered Instruments is both rough and beautiful.This is not about noise or the decibel levels (although I do recommend you listen to this album loud) – it’s about the sheer uncompromised approach to raw sound design…The final result is somewhat unclassifiable. - HEADPHONE COMMUTE
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