Matthew Collings

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. This music is textural, melodic and often sonically overwhelming.

His 'audio-visual opera' with Jules Rawlinson, for strings, clarinet, electronics and real-time visuals, 'A Requiem for Edward Snowden' was premiered to a sell-out crowd in October 2014, and has been performed at Glasgow CCA, Edinburgh Fringe Festival (as part of Made in Scotland Showcase 2015), Aberdeen Sound Festival and Utrecht's Gaudeamus Muziekweek (NL).

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).


'deeply unsettling'

'this is art-house ambience aiming to be something a lot different to the norm, and an era where everything seems a copy of a copy, his work has a freshness to it' - METRO
Photo by Zeno Watson.