Neal Spowage is a musician and artist living and working in Leicester, UK. He studied Multimedia Design BA at De Montfort University, Leicester before concentrating on Music Technology for his MA, and for his ongoing PhD under Dr John Richards and Professor Simon Emmerson. He designs, builds and composes with Sculptural Electronic Musical Instruments for Live Performance. His works, and instruments have been performed at Sonorities Festival of Contemporary Music in Belfast, UK (2012), Live Interfaces in Leeds, UK (2012), Phoenix Square Digital Arts, Leicester, UK (2012), Chisenhale Dance Space (2011), Sheffield Access Space (2010) and Brunel Electronic and Analogue Music Festival, BEAM (2011).
He has had papers published at Sound and Music Computing Conference Copenhagen (2012), New Interfaces for Musical Expression Conference Pittsburgh (2009) and some of his instruments appear in the Nic Collins book Handmade Electronic Music (2009) 2nd Edition. He has been a resident artist at STEIM, Amsterdam (2010) and given artist talks and seminars at STEIM (2011), UEA Norwich (2009) and Bournemouth University (2012).
He is an experienced rock musician who has released a commercial CD album, SUGAR (2009), on Resurrection Records with the Screaming Banshee Aircrew and performed in the UK, Germany, Switzerland and the Netherlands. He has supported The Chameleons Vox, The Damned and The March Violets. He is a significant ongoing contributor to the Dirty Electronics Ensemble in Leicester, and has assisted Dirty Electronics workshops at the ICA London, Solder a Score (2011), and at BEAM (2011).
He has an ongoing collaboration with the Choreographer Danai Pappa and has worked and played with musicians such as Duncan Chapman, Anna Meredith, Chris Carter (Throbbing Gristle), Craig Vear (Wolfgang Press/Renegade Soundwave), Rolf Ghelar (Karlheinz Stochausen), John Spence (Johnny Marr/The Cribs) and Nic Bullen (Napalm Death).
Neal’s research interests include sound, movement, gesture, interaction, sculpture and choreography. He has studied our relationship with our immediate environment and uses this to inform all aspects of his work.
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