My memory is of reeds in a slowly seeping tide; thick clay, barely a morning (or anything). A thousand-year grey air pushed through tall stems, until the water sank down to the mud roots.

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‘Mud Roots’ was realised in the Electroacoustic Music Studios at the University of Birmingham between July and September 2019, with support from the Midlands4Cities Doctoral Training Partnership (AHRC).

No AI software of any kind was used to compose ‘Mud Roots’. All ideas, sounds, audio processes and written notes are the unique creative output of the recordist/composer.

Piece notes revised and updated October 2025.

Image credit:
Weaver, John E.  [Public Domain], Wikimedia Commons

Mud Roots

Magma for violin and electronics uses as basis several resonances between the violin and the electronic sounds. The color of the violin timbre is changed, transformed and expanded by the electronics, enlarging the instrument sound into a surrounding mass, constantly changing. The volcanic magma also transforms over time going through shades of red, yellow, grey, until it reaches black, always in a constant tension and plastic mutation. Even when it has solidified and its surface seems to be stable, the inside of it is still boiling and filled with the agitation of the elements that constitute it. This work was commissioned by Festival Dias de Música Eletroacústica and by Seia Conservatory (Portugal) and received the First Prize at Counterpoint Composition Competition.

Magma

Burnt Sun

He looked at her the way she needed to be looked at like the whole world could Crumble......and he wouldn't blink ~

Brown Eyes _ Black Dress

Resonances

Another short animation project composed in Larnaca, Cyprus for an animation film created @Bermingham University.

--what happens when communication doesnt exist?--

Relationship Failure - Short animation film

Reflections and re-imaginings from Talisker Bay Beach, Isle of Skye:

Incoming tide.

Microscopic seaweed textures and suspended sand particles. Enclosed pools, wrought amongst saltwater rock. Jellyfish propulsion mechanisms. Feeding processes of Common Limpets, crabs and snapping shrimp. Surface glimpses of Anthus petrosus, foraging between waves.

Ancient volcanic activity and deep tectonic shifts.

Lines of ancestral connection between past and present shores.

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‘Shorelines’ was realised in the Electroacoustic Music Studios at the University of Birmingham between December 2018 and March 2019, with support from the Midlands4Cities Doctoral Training Partnership (AHRC).

No AI software of any kind was used to compose ‘Shorelines’. All ideas, sounds, audio processes and written notes are the unique creative output of the recordist/composer.

This track is a stereo mixdown of the original eight-channel composition. Piece notes revised and updated October 2025.

Image credit:
G. B. Sowerby [III] lith. [Public domain], Wikimedia Commons

Shorelines

Works from Sound Junction Live.
Rick Nance – Tearing up (2020, Stereo) – WP - (complete)
Julia Schauerman –  MetalWorks (14:17, 2020, stereo) – WP (complete)
Louise Rossiter – The Iris-Key (8:45, 2020, stereo) – WP (excerpt from opening: visit http://louiserossiter.com/ for more and purchase) 
Mario Cáceres – Muddle (9:44, 2020, stereo) – WP (complete)
Dale Jonathan Perkins & Michael Brown – Equipoise (parts 1- 3, 18:14, 2020, AudioVisual) – WP (excerpt sampler: visit https://dalejonathanperkins.bandcamp.com/ for more and purchase)

MetalWorks Julia Schauerman

Stereo reduction of the Octophonic original. Voice: Mathilde Rioton.

Third place ex-aequo in the 2016 SIME Electroacoustic Music competition, Lille, France. 

Premeried: University of Sheffield Concerts cycle ‘Sound Junction’ October 2015.

Included in the CD 'Fluctuaciones' (2016), released by Pueblo Nuevo netlabel: 
https://pueblonuevo.cl/catalogo/fluctuaciones/ 

This is the second part of the octophonic Acousmatic Cycle “La Lumière Artificielle”. The whole cycle was inspired by an interview of 1919, where the Chilean avant-garde poet Vicente Huidobro, talked about a new project:
"The creationist and simultaneist poem La Lumiere artificielle, for three voices on gramophone with new procedures (...)"(1).
This plan was never done. In the future, the poet would create works with sound as central axis and in Spanish and French, becoming an important reference for sound poetry in the Spanish speaking world.
This is a work in progress, a cycle inspired by Huidobro’s statement and the idea of voices in a fixed media, dealing with these issues: languages, abstract sounds by voice, new and old technologies. This Cycle is part of PhD thesis developed at the University of Sheffield under the supervision of Adam Stanović
(1) Huidobro, 1919, cited in García‐Huidobro, 2012: 34: García‐Hudobro, Cecilia. A la interperie (entrevistas 1915-1946). Santiago de Chile: Ed. Ocho Libros, 2012.

La Lumière

Sound artist and composer. Textural explorations on the boundaries of electroacoustic, drone and techno.

matthewpinker@googlemail.com

Resonances

Matt Pinker

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