Michael Begg is a sound artist and musician based in East Lothian, Scotland.
Download Profile (PDF) :: http://captainsquarters.co.uk/MichaelBegg_CV_Feb2017.pdf
His longstanding Human Greed collaboration with Deryk Thomas has resulted in 5 full albums (Consolation, 2001; Pilgrim: New World Homestead, 2006; Black Hill, 2008; Fortress Longing, 2011, World Fair, 2014) and a further 4 credited to Michael Begg/Human Greed (Dirt on Earth, 2012; OMEGA, 2013, Hivernant, 2015; Let The Cold Stove Sing, 2016)
In 2016 he released A Moon That Lights Itself, a composition for strings, electronics and moonlight capturing his commission from National Galleries Scotland, and the related performance at the Royal Scottish Academy.
He contributes to Clodagh Simonds’s Fovea Hex, and is a core member of the performing unit that has appeared in Italy, Spain, Ireland and, notably, in Paris at the Fondation Cartier at the personal invitation of David Lynch.
His Fragile Pitches collaboration with Colin Potter was commissioned by Edinburgh City Council to be performed in the city’s St Giles Cathedral and subsequently headlined Poland’s Intermediale Festival, and was released as a 2CD in 2008.
He has written, produced or otherwise contributed to recordings by Chris Connelly, Blind Cave Salamander, Andrew Liles (w. Fovea Hex) and 48 Cameras, and has welcomed contributions to his own work from Julia Kent, Steven R. Smith, David Tibet, Fabrizio Palumbo, Jean Mathoul, Tommy Aashildrod, Nicole Boitos, as well as his more familiar partners; Clodagh Simonds, Laura Sheeran, Colin Potter.
His writings on diegesis, mimetic sound, time travel and space were compiled and translated into Polish for the Polish Soundscape Institute.
Regularly providing sound design and music for theatre and gallery contexts, he remains closely involved in an ongoing collaboration with Moscow’s blackSKYwhite theatre company. Output from the theatre and gallery work can be found on the recordings Omega and Let The Cold Stove Sing.
Having come to musical composition via writing, he continues to scribble, and his articles on music and theatre have appeared in Sound on Sound, AudioMedia International, The Quietus, Total Theatre, The Scotsman, Adverse Effect and Paraphilia.
In 2016, he was appointed to Creative Scotland’s RFO Artistic and Creative Framework Peer Review panel, and he is a member of the folio of artist educators for Edinburgh University’s Talbot Rice Art Gallery.
Homesite :: http://www.michaelbegg.omnempathy.com