Name: TEAR by Matthew Wilcock in Chosen Clouds (November '19)
Duration: 8 min 59 s
Description: ‘TEAR’ offers a taste of what to expect from a debut album muted for release next year. The track’s ambient drone sounds provide a vast aural soundscape, developing into a soaring, powerful dose of electronica. Filled with moments of enduring beauty, ‘Tear’ sees a quiet meditative opening build into a throbbing, arrhythmic synth odyssey.

Chosen Clouds (November '19)

http://www.csismn.com/F-L-U-X

Sound Design for  FLUX

FLUX_Sound Design.WAV

“I wrote this after being with and then thinking about June running around the forest. It was the autumn and there were lots of leaves on the ground and her feet and legs were tiny and there was something so simple and beautiful about it. It felt like a metaphor for her life rolling out before her and I was vaguely seeing it all come into view and out again.”

Leaves Beneath Your Feet

From the EP 'Finally'

Peach Milk

Produced, Written, Recorded, and Mixed by
Madison Eve

Mastered by
Rohan Evans

Album Artwork by 
Dirk Peterson


Flight Instinct

https://spoti.fi/2S0zSVj

https://apple.co/2Dqpfqs

www.facebook.com/ilovemukke/

www.facebook.com/monotunesmusic/

Philipp Kempnich - Remote Future - MUKKE034

poly:Juno6/JX3P/DX11
mono:202/Monologue/SH2
drums:Miami/707/norddrum2/S1000
FX:RE200+Lexicon
Seq:Cirklon

live life with love in your heart

‘TEAR’ offers a taste of what to expect from a debut album muted for release next year. The track’s ambient drone sounds provide a vast aural soundscape, developing into a soaring, powerful dose of electronica. Filled with moments of enduring beauty, ‘Tear’ sees a quiet meditative opening build into a throbbing, arrhythmic synth odyssey.

TEAR

...for piano + tape.

performed in cambridge on 11/5/19.

music vid: https://www.youtube.com/watch?v=M2eY8MXYWCM

score: https://www.youtube.com/watch?v=iFyKLqS11hI

chris knowles' 2017 performance: https://www.youtube.com/watch?v=er83Icj4RYk

-----------------------------

prog note: 

Christopher Knowles (b.1959) first gained recognition in the 1970s when avant-garde theatre director Robert Wilson received an audio tape of Knowles reciting his poem, ‘Emily Likes the TV.’ Fascinated by Knowles’ unique use of language, which consisted of continuous, repeated variations on simple phrases in what seemed to be highly organised sequences, Wilson cast Knowles in a number of his productions, including Einstein on the Beach. ‘It was a piece coded much like music. Like a cantata or fugue it worked with conjugations of thoughts repeated in variations.’ 

This piece is based on the audio from a 2017 performance of ‘Emily Likes the TV.’ Knowles’ words and rhythms are transcribed and discrete musical blocks are mapped onto their corresponding linguistic parts to create a musical language that mirrors the patterns and structures of the poem. While transcribing his voice, I was struck not just by the musicality of his phrasing, but also by how closely it resembles the collage-like, ‘chop and screw’ techniques of DJs and producers working in sample-based electronic music. It seems to resonate deeply with how language works in the digital era, where syntax is rendered infinitely malleable by cut-and-paste tools, auto-correct functions and predictive text. It’s language conceived as building blocks, like Lego, to be playfully constructed, deconstructed, shuffled and manipulated at will; an infinite variation of sequences generated from a single line of text: 'Emily likes the TV, because she watches the TV, because she likes it.'

Emily Likes the TV

Slow Down And Breathe

2A-1 warm hall 2.5se c

Artist

Apostasy (BBC / BFI)
Mamoon (BAFTA Nominated) (Best Original Composition MASAs)
Waves '98 (Palme D'or)
Le Monde Dont on Reve N'existe Pas
The Beyond

printf("hello, world\n");

__̴ı̴̴̡̡̡ ̡͌l̡̡̡ ̡͌l̡*̡̡ ̴̡ı̴̴̡ ̡̡͡|̲̲̲͡͡͡ ̲▫̲͡ ̲̲̲͡͡π̲̲͡͡ ̲̲͡▫̲̲͡͡ ̲|̡̡̡ ̡ ̴̡ı̴̡̡ ̡͌l̡̡̡̡.___

TEAR

Matthew Wilcock

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