Matteus creates on a basis of dérive. Travelling through a number of destinations, he documents a series of images, experiences and people. Here, the context of his work is icy, almost haunted (like the Northern European countries) with song writing being at the epicentre. For Matteus, an abandoned church organ, Chopin’s piano and a recording of Gdansk’s cemetery divine quietness become equally integral in his dissonant, almost naive manner of production. Liquid Mary was recorded between Stockholm, Gdansk, Longyearbyen and Athens through 2012.
Do you know about these tiny sounds that most of the times we don’t listen to? What if I emphasize on different sides of instruments and magnify those sounds? All those things we don’t listen to. And all the people & words we refuse to listen to. I would like my new work to sound a little explosive at times. But in the end, a little desperate. Like the desperateness outside the Global Seed Vault in Svalbard.