LEFT WINTER is a composer and contemporary visual & sound artist.
Based in Manchester and Berlin, his work spans sound and images that navigate the transitional area of music, science + art.
With work composed of analogue and virtual orchestral components and sound design, LEFT WINTER composes uniquely with a strong signature of ethereal sounds that are intelligently layered with minimalist components that capture and captivate the imaginations of listeners, producing journeys of sound that take listeners with them.
With sweeping melodies underscored by drones, orchestral parts and unexpected glitches that flit through his music, his music scores the stories behind autobiographical, factual and fictional concepts. Recent German influences take presence in the form of bells, crossing signals, open spaces and the deep sounds of stationary, heavy trains.
In the main his music is symphonic and with titles including ‘We Formed Ourselves Into Tight Groups’, listeners are left forming their own mental, visual, scenes that span emotions of epic, horror and tragedy.
LEFT WINTER’s practice also combines visual work; monochrome photography, print, physical and moving image pieces; minimalist and sparse, these often function alongside and support his compositions.
His performances explore captured sound, often evolving live in a public / exhibition space, with visual works strongly linked to communication and science.
On August 5 LEFT WINTER performed at SOUP Manchester to welcome Axel Obiger for the mini-residency and show „Geduld des Papiers“ at PAPER Gallery Manchester. This marked a starting point for the collaboration of the new founded record label NoSuchThing, the PAPER Gallery Manchester and Axel Obiger Berlin.
For the show OPEN END, which is the 150th exhibition at Axel Obiger, LEFT WINTER composes a sound piece that corresponds with the ideas of Petra Karadimas’ and Gabriele Künne’s work. Responding to both their work, the result is an ambient performance of landscape, nature and industry, with glitches of industrial materials and inter-lapped sounds of gentle fluidity and melody for Künne‘s ceramics that meet with gritty, percussive, fragmented sounds that respond to Karadimas’ unconventional investigative viewpoint.