LUDOWIC

In the organizer's words:

Matheus Lodewijk (1973), known as LudoWic, is a Dutch musician, composer and multidisciplinary artist whose work moves between experimental electronics, forgotten instruments and spatial sound. Born in Venlo and raised in Dongen, he grew up in an environment where music and visual expression coexisted naturally. His father's musicality and his mother's visual sensibility still shape his approach to sound today - not just as something you hear, but as something physical, tactile and deeply connected to memory. After being accepted to both the art academy and the conservatory, Lodewijk decided to study music at the Codarts Conservatory in Rotterdam. Although visual art always remained present in his work, music gradually became the central language through which he explored emotions, time and perception. Under the name LudoWic, he developed a distinctive sound world based on aging synthesizers, tape recorders, resonator speakers and forgotten electronic instruments, whose instability and unpredictability became essential parts of the creative process. His music often strikes a balance between fragile intimacy and overwhelming physicality, combining nostalgic sonic textures with a cinematic sense of space and movement.

In addition to his solo career, Lodewijk has written and produced music for artists such as Wende, Sevdaliza and Santan Dave, as well as composing the music for the acclaimed indie video game "Katana ZERO". His background in visual arts and spatial thinking continues to subtly inform both his compositions and live performances, where sound is seen as something sculptural and physical rather than purely musical. His international fame grew considerably with the release of SUPER8 MEMORY in 2024, an album centered around the trautonium - one of the earliest electronic instruments ever developed in 1929. Rather than treating the instrument as a historical artifact, LudoWic approached it as something alive and emotionally immediate. The album introduced the sound of the trautonium to a new international audience and was praised by artists such as Pete Townshend, Ólafur Arnalds, Joep Beving, Patrick Watson and SYML.

His latest work, "Nunc Stans", marks a further development of this sound universe. The album was created during four months of almost complete isolation and reflects on transience, memory and the experience of time itself. Alongside the trautonium, LudoWic brings the Ondes Martenot into his work - another rare early electronic instrument whose sound carries both fragility and intensity. Although both instruments were created during the early development of electronic music in the 20th century, they have rarely been combined so explicitly in a contemporary musical context. This physical and emotional immediacy continues in LudoWic's live performances. Surrounded by a complex landscape of analog instruments, cables, resonant speakers and tape echoes, each sound is created and manipulated in real time. Rather than hiding the process of creation behind screens or abstraction, the performances bring the act of sound creation fully into focus, allowing the audience to experience not only the music itself, but also the gestures, imperfections and interactions that shape it in the moment. LudoWic has already performed at venues and festivals such as the Concertgebouw, Funkhaus Berlin, Eye Filmmuseum, ADE and Artonov Festival and will be on an international tour of Germany, Denmark, Belgium and the Netherlands from September. In both his recordings and live performances, he continues to explore how sound can influence our perception of time, presence and emotional memory.

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