Composer-performers Matthew Lee Knowles, Neil Luck and Josh Kaye formed KLK in 2009 and in 2013 released the eleven track album Spoken Word Music on Squib Box records.  These six tracks were never released, until now.

https://squib-box.bandcamp.com/album/spoken-word-music
https://matthewleeknowles.com/klk/

(The first track was written by Josh, the others by Matthew)

1) (Stuffed) Three Shakespearian Deaths 
2) 18 Reasons Why You Should Go Out Tonight 
3) Gay Times
4) Improving The Remarkable
5) Justine
6) The Hitchhiker's The Guide The Galaxy

The Hitchhiker's The Guide The Galaxy

(demo - nostalgic loop sketch)

Verse by Verse

Linked

DORAYAKI

Yes Man (beat)

HOME

This piece comes from the final movement of my larger string quartet An Ontological Study of the Paradigms in Advertising Media within Capitalist Societies for string quartet

The composition presents a strange ritual alternating very quiet music with lyrics scribbled down from half remembered adverts and things heard on the radio. 

The piece ends by dissolving into the either and a held chord slowly undulates. 

An Ending for string quartet

Composing this piece with sonic and conceptual goals in mind, I was surprised to find I had produced something simple enough for novice piano students—or alternatively, a trio of treble instruments.

As the hands can remain stationary, the piece makes only the most modest physical demands.

That said, it poses other kinds of challenges.

The performer must read from three staves, each carrying a simple but reasonably independent voice.

The meter changes constantly, shaped by the additive logic of the underlying rhythm.

And while a beginner might ignore the dynamics and still produce an acceptable result, a finished interpretation depends on the ability to play piano and forte simultaneously, in order to bring out just one or two voices when required.

Whatever makes music simple also makes it transparent—and transparency always demands control. Put differently, the same minimalism that lightens the physical load calls on the performer to maintain connection and seek out rhythmic and tonal nuance that will sustain interest.

In one respect, however, the piece is unapologetically pedagogical.

It communicates a mathematical argument in support of an elementary but non-trivial proposition.

In more detail: the highest voice moves in durations of 1, 7, and 8 eighth notes; the lowest in durations of 1 and 5. Each voice constitutes a kind of translation of the other. Remarkably, any 1–7–8 rhythm can be transformed—without much change in length—into a corresponding 1–5 rhythm, via a completely reversible process. This is only possible for very special sets of durations. And by the way, those 1’s—the eighth notes—don’t just tag along. Their role is more complicated, and necessarily so.

As often happens in mathematics, revealing a hidden connection between two structures requires inventing a third that can serve as intermediary. The middle voice plays that role, moving only in durations of 2 and 3 eighth notes.

Analyze the piece for its patterns, and the translation principles hinted at here will become clear.

One may simply take this as an opportunity to learn some mathematics while learning music. Better still, one might strive to hear both at once—and so enjoy a kind of dual experience. That possibility of duality might even inform the interpretation.

Direct message me if you would like to see the score.

Proof Piece for piano or three treble instruments

I always wanted to write my version of a Mozart piano concerto - hubris isn't it? What resulted is a neo-classical, surrealistic journey; one that freely borrows the cliches of the Classical period - including sonata form - for my own subversive musical ends. 

Concertino for Piano and Orchestra in C

Concertino for Chamber Orchestra MOV 2 Fugue (2025) Nicolas Kingman

I'll follow you back when SC lifts the follower limit (!)
Loving listening to everyone's music on here :-))))))))))