Welcome to the weird and wonderful world of Mattie Konig, a twentysomething musician, gamedev, artist, and all-round creator of cool stuff. Use the links above to find out what I do and what I've been up to!
ORIGIN: London, England, UK
CURRENT LOCATION: West Country, England, UK
PASSION FOR CREATION: Never Ending
Released January 14, 2022
My first full-length album of original music in nearly three years. Pastoral keyboard passages, pounding electronic rhythms and layers of contemplative ambience ebb and flow in fascinating and unexpected ways, taking you on an immersive trans-genre journey from start to finish.
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, as well as keyboards, vocals, percussion, and other instrumental duties; from recording in Logic Pro X to releasing my songs on Bandcamp and Soundcloud, I remain in control of my music every step of the way.
I was a regular performer 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 2016 album Here Comes A Special Boy? was featured on GoldFlakePaint's list of essential albums by transgender artists, and my music has recieved regular airplay on Culture as a Dare (an experimental radio showcase slot on Thames Estuary station Ship Full of Bombs and later Scottish station Tak Tent Radio).
The musical achievements I am most proud of so far are my albums/EPs of original music, released more or less continuously since 2016. The songs are electic in style, incorporating elements of symphonic prog rock, electronic pop, experimental indie, industrial music, and forays into many other genres. Their lyrics so far have mostly chronicled the various developments in my own life, although starting with the release of Cleanup Duty I have begun to broaden my horizons and write songs that address the world outside my headspace.
|Album name||Release date||Comments|
|Deadname Self-Titled||March 18, 2016||Released after the sixth-form college experience that formed the bulk of my formative musical education - and before the begnning of my genre transition - my debut album consisted of mostly instrumental pieces showing a strong 1970s progressive rock influence.|
|Here Comes A Special Boy?||September 24, 2016||This more confident sophomore release marked the start of a recognisable Mattie Konig sound, with my distinctive mix of genres starting to emerge; it was also my first album themed around an overall concept, with multiple songs focusing on discovering and accepting my gender identity.|
|Cerulean Impulses||April 14, 2017||A single unsuccessful semester at university - an isolated and emotionally tumultous attempt at independence, in which the emergence of a disturbing new political paradigm coincided with the awkward formative stages of my transition - resulted in this dark and violent album, marked by its preponderence of industrial and noise elements to reflect my disturbed headspace at the time. (I got better though)|
|Light and Shade||April 11, 2018||My longest album to date, both in total length and number of songs, Light and Shade reflected a more settled, optimistic mood, with a full-on return to the genre-defying approach of Here Comes A Special Boy?. Notable in that, until the release of Cleanup Duty, this was my only album to feature entirely sung songs (i.e. no instrumentals).|
|Unlearning||January 27, 2019||Perhaps the closest I've ever gotten to punk, this short and tense album saw the return of an industrial edge to my usual sound, with lyrics addressing frustrations and failings - albeit with more anger and venom than the terror and anguish of Cerulean Impulses.|
|Dark Skies||October 30, 2019||This six-track EP of diverse songs saw out the decade with my most polished production yet, showcasing my skills in everything from to refined expressions of my prog rock roots to forays into different styles of dance music, even including a shot at 1980s Hi-NRG pop.|
|Downstreaming||August 1, 2020||To create a "sidelong" extended composition had been my goal ever since I began making music, and the first UK lockdown gave me the opportunity to focus on writing just that; the result was this 33-minute mutli-movement suite, tackling the most important questions of my musical journey so far, covering a sweeping range of styles in the process (albeit with a naturalistic sound that calls back to the organic tones of 1990s post-rock.)|
|Five Queasy Pieces||March 29, 2021||From one of my biggest releases to my smallest, this five-track EP pared back my style to the basics, resulting in a suite of sparse and direct songs with minimalistic, contemporary production.|
|Cleanup Duty||January 14, 2022||My latest studio album marks sweeping changes both musically and lyrically; in the former department I've combined the best approaches of my past albums with forays into sweeping new territory, while in the latter I've stopped focusing in on internal torments and started to embrace a healthier, more worldly view of things. The result is one of my most coherent albums yet, and perhaps the one I'm most proud of too.|
As well as creating original music for my own personal satisfaction, I've helped contribute to the soundtracks for several media projects, both as a volunteer and as a commissioned composer:
|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 Rareware-inspired 3D platforming game created by Suzie Scott, currently in development||Themes for various characters and locations, using authentic Nintendo 64-era instrument samples|
|Penelope Parabellum||A virtual YouTuber (VTuber) known for English and Russian-language streams of various games||Penelope's Room, an instrumental theme used for stream intermissions|
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.
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 eventual goal is to create and release some kind of virtual reality experience for Half-Life: Alyx - perhaps a level set in the Half-Life universe, an original science fiction or horror story, an abstract psychedelic trip, a recreation of a real world space for virtual tourism, or even an interactive music video.
The London Pack
From its conception in 2018 to its release in 2021 I was project lead of 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 UK-themed map assets to the mapping community. As project lead I oversaw 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 London 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).
Quintessence of the Waves
In 2021 I entered TF2Maps.net's yearly detailing contest, in which mappers are tasked with creating as good-looking a map as possible based around a specific theme; this time around the theme was "In & Out", requiring mappers to include at least one major interior and exterior area in their map. My first prize-winning entry took the form of a modern-day cruise ship, "Quintessence of the Waves"; the main atrium and lido deck acted as the main interior and exterior areas respectively, albeit with many other explorable rooms across the map. It was definitely a challenge to make, especially figuring out how to update TF2's iconic painterly aesthetic to a contemporary environment, but I had a lot of fun creating the various custom assets and researching the aesthetics and layouts of existing cruise ships in the modern world.
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, send me a Twitter message or an email asking to add me first.
If you want to directly support me, consider donating to my PayPal: