A Requiem For Edward Snowden
by Matthew Collings
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Record/Vinyl + Digital AlbumBlue vinyl, whilst stocks last, then black vinyl.
Gorgeous artwork with inlay, printed with more artwork and credits. Sound amazing!
One track shorter than CD, includes digital download for full digital album and visual element of piece by Jules Rawlinson
Includes unlimited streaming of A Requiem For Edward Snowden via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 days£12.50 GBP
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Compact Disc (CD) + Digital AlbumGatefold CD with artwork from Jules Rawlinson
Includes unlimited streaming of A Requiem For Edward Snowden via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 days£7.50 GBP or more
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
€9 EUR or more
1. |
Opening
05:31
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2. |
Maersk Recorder
05:05
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3. |
Cincinnatus
05:03
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4. |
Interlude
01:26
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5. |
Rapid Pulses
09:48
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6. |
Bluffdale, Utah
06:19
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7. |
Collect It All
07:11
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8. |
Waiting
05:26
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about
The album download includes the audiovisual piece as a movie file!
MATTHEW COLLINGS is a Scotland-based composer. Not only being a solo recording and live artist, he collaborates regularly with artists from all kinds of fields including musicians (e.g. Dag Rosenqvist from JASPER TX and Denovali label mate TALVIHORROS), dancers and filmmakers. He’s responsible for several installations using custom-made software, which have been exhibited at Burning Man Festival in San Francisco or Glasgow's Centre for Contemporary Arts. His work for films includes a specially commissioned live score for Dziga Vertov’s 1929 silent classic, ‘The Man with the Movie Camera’ and an invitation to work on ‘The Invisibles’, a commission from Amnesty International.
'A Requiem for Edward Snowden' is a large scale live audiovisual performance piece that has been performed among others at the Glasgow Centre for Contemporary Art and the Gaudeamus Muziekweek in Utrecht. The piece focuses on a number of themes which are extremely relevant to our lives in the 21st century, based around the actions and decisions of whistleblower Edward Snowden; loss of faith and security, the hacking of digital media, invasion of privacy and personal sacrifice.
The documents released by Snowden reveal that we live in a world in which we are totally reliant not just on methods of communication, but on daily routines in which our privacy is completely compromised. The piece explores the consequences of this situation through a combination of electronic sound, acoustic instrumentation and live visuals. The gestures and performance from two live electronics performers, a clarinetist and string section are analysed and interact with real-time visual work by Jules Rawlinson (pixelmechanics.com), exploring the piece's central themes at sonic and visual levels.
'By turns politically muscular and poignantly nuanced, Collings's excellent piece is a heartening reminder of the quality of new music being created and performed in Scotland today' - The Herald Scotland
This album constitutes the entire musical part of the performance. However, as the piece was conceived as an audio-visual piece, the visuals are included as downloadable content.
MATTHEW COLLINGS is a Scotland-based composer. Not only being a solo recording and live artist, he collaborates regularly with artists from all kinds of fields including musicians (e.g. Dag Rosenqvist from JASPER TX and Denovali label mate TALVIHORROS), dancers and filmmakers. He’s responsible for several installations using custom-made software, which have been exhibited at Burning Man Festival in San Francisco or Glasgow's Centre for Contemporary Arts. His work for films includes a specially commissioned live score for Dziga Vertov’s 1929 silent classic, ‘The Man with the Movie Camera’ and an invitation to work on ‘The Invisibles’, a commission from Amnesty International.
'A Requiem for Edward Snowden' is a large scale live audiovisual performance piece that has been performed among others at the Glasgow Centre for Contemporary Art and the Gaudeamus Muziekweek in Utrecht. The piece focuses on a number of themes which are extremely relevant to our lives in the 21st century, based around the actions and decisions of whistleblower Edward Snowden; loss of faith and security, the hacking of digital media, invasion of privacy and personal sacrifice.
The documents released by Snowden reveal that we live in a world in which we are totally reliant not just on methods of communication, but on daily routines in which our privacy is completely compromised. The piece explores the consequences of this situation through a combination of electronic sound, acoustic instrumentation and live visuals. The gestures and performance from two live electronics performers, a clarinetist and string section are analysed and interact with real-time visual work by Jules Rawlinson (pixelmechanics.com), exploring the piece's central themes at sonic and visual levels.
'By turns politically muscular and poignantly nuanced, Collings's excellent piece is a heartening reminder of the quality of new music being created and performed in Scotland today' - The Herald Scotland
This album constitutes the entire musical part of the performance. However, as the piece was conceived as an audio-visual piece, the visuals are included as downloadable content.
credits
released March 25, 2016
Music Composed by Matthew Collings,
Except 'Cinncinatus', composed by Matthew Collings/Pete Furniss
Visual Processing by Jules Rawlinson
Clarinet by Pete Furniss
Violin by Emma Lloyd
Cello on tracks 1,2, 3 and 5 by Clea Friend
Cello on tracks 4 and 6 by Justyna Jablonska
Electronics and Electric Guitar by Matthew Collings
Additional Electronics by Jules Rawlinson
Sound Projection and Live Recording by Sean Williams
Additonal vocals by Heidi Stewart
Recorded at Glasgow Centre for Contemporary Art (CCA) and Edinburgh Reid Concert Hall, October 2014 - March 2015
Mixed by Matthew Collings
Mastered by Lawrence English @158
The development of this record was support by Creative Scotland, New Media Scotland, Cryptic Glasgow, Magnetic North and Edinburgh College of Art.
Thanks to Elin, Nick Bone, Verity Leigh, Mark Daniels, Cathy Boyd, Kevin Hay, Timo and Thomas at Denovali, Stewart Houston, Justyna Jablonska, Julia Lungu
Music Composed by Matthew Collings,
Except 'Cinncinatus', composed by Matthew Collings/Pete Furniss
Visual Processing by Jules Rawlinson
Clarinet by Pete Furniss
Violin by Emma Lloyd
Cello on tracks 1,2, 3 and 5 by Clea Friend
Cello on tracks 4 and 6 by Justyna Jablonska
Electronics and Electric Guitar by Matthew Collings
Additional Electronics by Jules Rawlinson
Sound Projection and Live Recording by Sean Williams
Additonal vocals by Heidi Stewart
Recorded at Glasgow Centre for Contemporary Art (CCA) and Edinburgh Reid Concert Hall, October 2014 - March 2015
Mixed by Matthew Collings
Mastered by Lawrence English @158
The development of this record was support by Creative Scotland, New Media Scotland, Cryptic Glasgow, Magnetic North and Edinburgh College of Art.
Thanks to Elin, Nick Bone, Verity Leigh, Mark Daniels, Cathy Boyd, Kevin Hay, Timo and Thomas at Denovali, Stewart Houston, Justyna Jablonska, Julia Lungu
license
all rights reserved
tags
about
Matthew Collings Edinburgh, UK
Tiny delicate moments of intimacy and all-consuming noise; the music of composer and sound artist Matthew Collings is textural, melodic and often sonically overwhelming. Spanning the divide between Steve Reich and avant-garde guitar music, Collings has already found considerable praise from the international community for his previous releases under the curious moniker Sketches for Albinos ... more
discography
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Oct 2019 -
Sep 2019 -
Feb 2017 -
Mar 2016 -
Jul 2014 -
Jul 2014 -
Feb 2015 -
Jun 2013 -
Aug 2012 -
May 2011
contact / help
Matthew Collings recommends:
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Descent Into Delta
by Talvihorrostour mate and collaborator. amazing melodic atmospheric drone.
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BY THE THROAT
by Ben Frostthreatening, beautiful, powerful.
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I love this series because it is so interesting and the first 3 stages are nice to listen to for studying. The music is sad and happy, distorted in parts but real throughout.
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