Gisle Martens Meyer (b. 1975) is a Norwegian artist, currently living in Berlin, Germany. He is working with music, sound and live visuals for stage, screen and new media. Often closely integrated with - and dealing with the challenges of - new technology, digital culture, its development and inevitable entropy. Starting out as a touring electronica artist in the early 2000s, he is also working as a regular composer for film, TV and video games. His current focus is on performances and comissions for contemporary stage and new live scores for silent film classics.
As a composer GMM creates music and sound for cinema, TV, web, games and apps. Recent major works include music for Pushwagner documentary, and Norwegian kids TV-series Kometkameratene and Barnas Supershow.
As a performing artist GMM creates and performs live music for silent movies, theatre plays, contemporary dance, art installations, events and festivals. Recent projects are a new score to silent Soviet sci-fi classic Aelita – Queen Of Mars, and a live score to La Muda, part of Yasgur’s Farm from contemporary dance company Carte Blanche.
As an artist and producer GMM writes, releases and performs music with multiple bands and artist projects. Most active are cinematic electronica act Ugress, with multiple releases and international touring, and the post-apocalyptic dystopian concept Nebular Spool.
“Any sufficiently advanced technology is indistinguishable from magic.”
-Arthur C. Clarke, Profiles Of The Future
“That's what the world is, after all: An endless battle of contrasting memories.”
-Haruki Murakami, 1Q84
“There’s no there, there.”
-William Gibson, Mona Lisa Overdrive
I work with the future, how technology spirals us ever faster into a maelstrom of machines, profiles, hyper-realities, digital relationships. Everything grows closer and further apart at the same time. Nothing disappears, yet everything is ephemeral. Our current reality is utopia and dystopia simultaneously.
I work with music, sound and video, and as far as possible everything in realtime on a stage.
I prefer to use the audience's imagination - hints of storytelling and skeleton narratives to plant ideas in the audience's mind, a combination of make-believe and envisioning.
I prefer to have a conceptual core that goes all the way from the overall music and down into the sound design - there is a concept, a reason behind each single sound, its source, its meaning.
I prefer to plan, build and program systems and frameworks, and then compose or performe within this framework, to "play" my own world, discover that which is impossible to plan for.
I prefer to create something subtly strange, between quiet laughter and curious wonder.