Sound design collaboration with multidisciplinary artists Chloe Lum and Yannick Desranleau for “Is It The Sun Or The Asphalt All I See Is Bright Black,” an installation piece at Circa Art Actual, Montreal QC. Two channels 4K digital video, sound 103 minutes; installation. (May 2017)
Sound design for a series of hand-animated mini films by animator Una Lorenzen. (April 2017)
“FTP sound mind, sound” attempts to reconcile the heightened violence around us, through the use of healing Solfeggio frequencies. This piece is derived from the sonified data of canonic lyrics of NWA’s “F Tha Police,” released two decades ago. The lyrics were transferred into musical notation, and played on the piano through six different healing frequencies: UT – 396 Hz (turning grief into joy, liberating fear,) RE – 417 Hz (undoing situations and facilitating change,) MI – 528 (transformation and miracles,) FA – 639 Hz (re-connecting and balancing,) SOL – 741 Hz (solving problems) and LA – 852 Hz (awakening intuition and returning to spiritual proper.) These six healing piano frequencies are coupled with vocal drones done in the same healing ranges, adding a human element to the curative process. It begins with a build up of reconnecting, balancing and awakening intuition, and returning to spiritual order. Through listening and watching, one begins to connect with the healing energies of our larger cosmos and unites with the larger cause of global healing from systemic violence based on race, class and gender. (2017)
Examining location, and it’s basis for heart and culture. This piece is composed by sonifying the written text, and transposing it into a musical score. It also contains field recordings from Austin, TX. (2016)
Solitaire by ECHO BEACH, from the EP “Fortune,” released April 2015 echobeach.bandcamp.com
This soundscape explores the erratic chronicles of the artist’s many childhood addresses; each move offering hope for a different future–a stable, secure future–inevitably running up against the challenges of a single-parent income in the capitalist culture of the 1980s. Sonifying the hand-drafted data of each location and address, this work layers emotional intonations with concrete sounds, providing an aural landscape of Matson’s FUTURES, PAST. (2014)
For too long the names and faces of so many missing and murdered women in Canada have gone unspoken, and forgotten by the media and the greater population. It has been through public outcry at the discovery of serial murderer Willy Pickton, and the grassroots groups that have kept record and memory of these lost souls that the Government of Canada has recognized the pandemic of our missing women.Bureaucratic red tape has tied up resources for investigation of these cases, preventing justice from being actualized.
Matson and Edwards seek to honour these women in their collaborative piece, Between The Reeds. Their works pay homage through visceral soundscape and video installation. They explore the risk of the daily life of many women in the Downtown East-Side of Vancouver, and across the country: risk associated with the colour of their skin, the visibility of their class, and the discrimination of their labour. (2012)