All credit goes to Big Blue Bubble, (creators of MSM, and this song).
This randomly blew up? tf?

Lyrics (Werdos):
The oceans deep,
The currents strong,
Right here I've found,
Where I belong.

It's all around.
Can you feel the sound?

I'm alright now,
Cool, calm, clear like water.
I'll make it somehow,
I'll go with the flow like water.

I'm alright now,
Cool, calm, clear like water.
I'll make it somehow,
I'll go with the flow like water.

My Singing Monsters - Water Island

My humble tribute to the radiantly subversive key of A major. 
#2 in a series of 24; at this rate I should be finished in about 46 years.

Tribute to A major

Concert version of my piece entitled 'Parallel Realms' performed live at the Joyce Dixie Composers Competition 2016 at The University of Surrey.

The piece was placed in the top 4 and also 'Highly Commended'.

Conductor: Christopher Elmslie
Piano: Harry Morley
Voice: Hayley Watson
Violin 1: Arthur Boan, Ivan Cheng
Violin 2: Katherine Rowe, Jamie Philokyprou
Viola: Courtney Green, Tom Wood
Cello: Edward Kempton, Jake Dickson

Parallel Realms For Concert Live at Joyce Dixie

This is a data sonification piece of the installation of the same name at the Tate Modern by the artist Olafur Eliasson. When I first saw the work, I was entranced by it and watched it for about half an hour. It's a piece made up of opposites: yellow and purple circles at opposite sides of the room turning to black and white straight lines meeting at the same point. 

http://www.tate.org.uk/art/artworks/eliasson-yellow-versus-purple-t11806

The piece is structured around my first experience of seeing the artwork: entering the room; being absorbed by the rotating and changing shapes; and then eventually snapping out of it. It was my first weekend living in London, I'd been alone and hadn't spoken for more than a day.

The central tone is an octave of the frequency of yellow light, stays still, getting brighter and darker, representing the shadow on the wall. The panning tones represent the purple reflection orbiting the room, being two sine tones, octaves of the frequencies of blue and red (summing to make purple). These become noisier as the reflection turns to a white line and meets the yellow shadow, now a black line. 

All of this occurs with changing frequency, as I timed the orbit of the artwork and found it ranged between 20 and 35 seconds.

The samples used are recordings of people in the room with Yellow Versus Purple. The opening includes the first loop, with the second loop in the ending.

Yellow Versus Purple

Mendelssohn's Wedding March arranged and performed by Bridget Mermikides

Wedding March excerpt

Duettino from The Mariage of Figaro excerpt arranged and performed by Bridget Mermikides

Duettino from The Mariage of Figaro excerpt

Oblivion by Astor Piazzolla.
Warning: DO NOT listen if you are feeling melancholy and are anywhere near whisky and a loaded shotgun.

Amor Quintet: 

Accordion - Nikolai Ryskov 
Violin- Anne-Marie Curran 
Double Bass- Sam Ryan 
Piano- Gabriele Faja 
Guitar - Milton Mermikides

Oblivion

Okay, it's been a while.  Working on all sorts of new rhythms.  This is on the eight-stringed lyre, tuned 6 7 4 8 9 10 11 12.  It's the eleventh harmonic that sounds funky- you can really hear its primeness.

Metric: rh 16, lh 31.

cauliflower

A collaboration with Dr Enzo De Sena, the mutations of the Covid-19 virus over 500 generations are sonified. Every motif is formed by the mutation of successive Covid-19 strains. Although 'musical' decisions are made, they are done so not to cloak the data with familiar emotional signs, but to reveal the hidden music of the mutations - as such motivic similarity and variation are the shared language of music and biology.  Despite the remarkable amount of change it should be appreciated that Covid-19 is in fact relatively stable, so the hope for an effective vaccine remains.

- Milton

This project tries to sonify the genetic mutations of COVID-19 as they are observed over time. The main aim of the project is to satisfy a personal curiosity and for artistic purposes. However, it is hoped that sonifying the mutations could highlight patterns that would not be picked up otherwise.

The current sonification methodology associates notes' timing to the position of the mutation within the DNA and pitch to the type of nucleotide mutation (e.g. G->A, or C->T etc). This means that the position of the mutation results in different rhythmic placement, and the type of nucleotide mutation results in different melodies.

- Enzo

To follow the project visit: miltonline.com/covid-sonify