Welcome one, welcome all, I am here hi HELLO
My name is Mattie Konig (as that big header up there suggests) and I am:
23 years oldtransgender and nonbinary (she/her pronouns)on the autism spectrumBritish (born in south London, currently living in the West Country)a creator of all sorts of weird and wonderful stufftrying my best, and trying not to look back
I've been writing and recording my own music since 2012, exploring a broad variety of genres, styles and themes along the way. I handle the composition and production of all my songs (Logic Pro X is my DAW of choice) as well as keyboards, vocals, percussion, and other instrumental duties.
I'm a regular live performer - in times of non-pestillence - at Exeter's Loud and Queer performance art events; I also played at their Exeter Pride showcase slots in 2018 and 2019, as well as a solo set at the 2018 Women of the World festival. My music has recieved regular airplay on Thames Estuary radio station Ship Full of Bombs, and my 2016 album Here Comes A Special Boy? was featured on GoldFlakePaint's list of essential albums by transgender artists.
The musical achievements I am most proud of so far are my albums/EPs of original music, released more or less continuously since 2016. These releases chronicle the developments in my life and in the world around me, rendered in an eclectic style that incorporates elements of symphonic prog rock, electronic pop, industrial music, and forays into many other genres.
|Album name||Release date||Description|
|Deadname Self-Titled||March 18, 2016||Mostly instrumental debut album, composed and released before my transition, that set the groundwork for my releases to come|
|Here Comes A Special Boy?||September 24, 2016||More confident sophomore release and my first themed around an overall concept, focusing on discovering and accepting my gender identity|
|Cerulean Impulses||April 14, 2017||My darkest album yet, a violent and noisy vent about an isolated semester at university during a politically tumultuous period of history|
|Light and Shade||April 11, 2018||A more settled, optimistic release, and my longest album to date, with nearly an hour of fully vocal songs (i.e. no instrumentals)|
|Unlearning||January 27, 2019||Short and tense album, adding an industrial edge to my usual electro-prog sound|
|Dark Skies||October 30, 2019||Six-track EP of diverse songs, seeing out the decade with further refinement of my style|
|Downstreaming||August 1, 2020||My masterpiece so far, a 33-minute mutli-movement suite tackling the most important questions of my musical journey yet, covering a sweeping range of styles in the process|
|Five Queasy Pieces||March 29, 2021||Five-track EP of sparse and direct songs with minimalistic, contemporary production|
Starting in early 2017 I began to experiment with mashups, and discovered them to be a fun but surprisingly technical medium to work in. Since then I've released many mashups both individually and as EPs, culminating in 2019's One Of These Again, an epic 25-minute journey that samples eighty seperate songs. Although not as serious a venture as my other music it's still a very entertaining field to work in, and the editing techniques I've learned making my mashups have influenced my other original compositions.
I've helped contribute to the soundtracks for several media projects:
|Project name||Description||My contribution(s)|
|Open Fortress||A community-made Team Fortress 2 mod focused around new characters, game modes and locations||Drawn and Quartered, a piece of poppy 1960s-style background music for my Deathmatch map DM_Thames|
|Amazing Treasure Valley||An open world slice of life RPG created by Splendidland, currently in development||Themes for various characters and locations in a variety of styles, from quirky chiptunes to smooth lounge muzak|
|Sorceress Story||A Nintendo 64-themed platforming game created by Suzie Scott, currently in development||Themes for various characters and locations, using authentic N64-era instrument samples|
|Penelope Parabellum||A virtual YouTuber (VTuber) known for English and Russian-language streams of various games||Penelope's Room, instrumental theme used for stream intermissions|
In April 2020 OpenAI released Jukebox, an advanced neural network capable of generating music as raw audio in a variety of styles and genres. I was immediately wowed by its creative potential, and as soon as I discovered how to operate it myself (through Google Colab), I set to work undertaking various A.I. music experiments. I have tested Jukebox's strengths and weaknesses in many different departments (non-English lyrics, songs with multiple vocalists, spoken word samples, disparate combinations of input audio and artist conditioning, etc), as well as indulged in new continuations of favourite songs, and even explored using it to find solutions to non-musical problems, including the all-too familiar scourge of parasocial relationships.
The results of my experiments are documented in a regular series of YouTube videos, linked below; in addition, I used Jukebox to co-compose a few parts of my song Downstreaming. Although the limitations of Jukebox mean I am only able to generate low-quality audio samples at the moment, I still feel lucky to be able to utilise this cutting-edge tool (especially when the ramifications of media synthesis technology on the livelihoods of creatives are uncertain), and I fully intend to keep up with future developments in this fascinating and uncharted field.
I grew up surrounded by video games, so it's no surprise I eventually ended up trying my hand at making them. While this initially manifested in the form of early experiments with the likes of Game Maker and the Tomb Raider Level Editor, from 2010 onwards I began making levels for various Source engine games, and it remains the engine I hold the most experience in to this day. My primary focus has been recreating various locations in London and the UK for fun, no doubt influenced by fond recollections of my upbringing in the capital; with the release of Source 2 and its far more powerful level editing tools, however, I hope to diversify my repetoire and create more varied locations.
My short-to-medium term gamedev goal is to create some kind of virtual reality experience in Source 2 - perhaps a level set in the Half-Life universe, a science fiction or horror story, an abstract psychedelic trip, or even an interactive music video. My long term goal is to make a more substantial game dealing with personal themes in a unique and experimental way - something that could mean as much to people as Undertale, Night in the Woods, The Beginner's Guide, or other games of that ilk.
The London Pack
In 2018 I began organising the London Pack, a community project for Team Fortress 2 (as well as Source Filmmaker, Open Fortress, and other related Source engine mods) with the goal of introducing a new collection of British-themed map assets to the mapping community. As leader of the project I have overseen its direction on multiple levels, from creating textures, concept art and promotional materials to directing the creation of models by other community members. I also created DM_Thames, an official map for Open Fortress set on the banks of the titular river, as a way to showcase the potential of the pack and its assets. The Pack is one of the largest projects I've worked on in terms of scale and time spent, and it's been a useful learning experience for managing such projects (especially getting to grips with software like GitHub).
For much of the past decade I have amused myself by creating horrifying digital photo collages in Paint.NET. Sourced from images found on the web and assembled with little regard for coherent human facial anatomy, these surreal and satirical grotesques have also served a practical purpose in allowing me to experiment with different aspects of graphic design, even if a real advertising agency would be nuts to let me anywhere near their design departments.
In early 2020 I applied my collage skills more seriously in the form of Memories of Doggerland. This short zine reflects both my interest in alternate history scenarios and the political state of the current world, presenting a scrapbook of ephemera from a parallel universe where Doggerland (an area of land that connected Britain to the European continent in prehistoric times) survived to this day. Memories of Doggerland recieved a short print run in full colour, and I performed a lecture about the alternate Doggerland at the February 2020 edition of Loud and Queer.
My artistic interests have always extended into the realm of the moving image, and no doubt one day I'll end up doing some kind of grand video-based project; in the meantime, smaller audiovisual accomplishments have kept my editing skills from going rusty. These have ranged from experiments in adapting my other creative works (including tests for an animated When My Nights Were Better music video and a news report from my fictional Doggerland) to YouTube Poop-inspired maximalist absurdism (including Eleven Hours in a Chimp Man, a fast-paced performance art video that brought the demented style of my collage works to life) to completely unprecedented endeavours (my The Universe is a Glitch music video, consisting entirely of AI-generated components - lyrics, audio and visuals).
If you have any questions, are interested in collaborating with or commissioning me, or just want to get in touch, you can contact me through one of the following:
I'm most active on Discord, but if you want to chat there, ask to add me through one of the above channels.
If you want to directly support me, consider donating to my PayPal: