Sam Gillies


Sam Gillies is a composer and sound artist with an interest in the function of noise as both a musical and communicative code in music and art. His work treads the line between the musically beautiful and ugly, embracing live performance, multimedia and installation art forms to create alternating sound worlds of extreme fragility and overwhelming density. Sam’s music has been programmed at both national and international conferences and festivals, including the Test Tone Series at Superdeluxe, Tokyo and the International Computer Music Conference. Sam is currently studying a Masters in Composition at Goldsmiths, University of London.

Composer website:


Snowden (Eyes in the Sky), for Bass Clarinet and Electronics.

“The musical project Snowden is a conceptual framework, the germ of an idea that is at once a response to the monitoring of our online activities and an attempt to create something new and creative from the frameworks of these mechanisms of surveillance.

Most recently I’ve been been analysing raw data files to derive pitch and gestural material for acoustic instruments. In Snowden (Eyes In The Sky), web browser data and cache files were analysed to derive structural and gestural ideas that could be manipulated and notated graphically across the range of the bass clarinet, resulting in music given form by the recorded data of online behaviour.

In turn, the computer monitors the performer and extracts information about the component parts of their performance. This metadata – pitch, volume, noise, and brightness – governs the electronic output, creating music built from the relationships of these changes in musical phrasing and timbre, creating an electronic manifestation of surveillance to accompany the acoustic performer.”

Featured in Playlist 7: Eclectic Waves, 31/7/2015

The Days When Crows Would Watch Us Play II is an audiovisual work.

The Days When Crows Would Watch Us Play II was my first early experiment with combining traditional and graphic notation in a single score. Here different blocks of conceptually related material are combined together to play with the assumptions we make when we read a piece of music. The result is a piece that feels structured and yet retains the character of the individual performers in the ensemble. The score itself was most recently exhibited at the ‘A Backwards Glance’ exhibition at the State Library Perth, as part of the 2015 Totally Huge New Music Festival.

Featured in the playlist:  Immersive Waves (1/02/2016)