From his early work My Dream (2014), through R/C Car Opera 3 Cars (2015), VR opera work We
Cannot Sleep (2017), and cinematic short film She Flies By Night (2018), Luke Deane has gained a
reputation for some of the most technically ambitious and most interdisciplinary productions in the
Netherlands.
Luke is a conceptual composer with a strong focus on self-expression and emotional pain; his
compositions have both speculative and humorous qualities, often showing the artist failing at an impossibly difficult task on
stage. Luke is known for his idiosyncratic approach to form: he has scored movements for live
photographers, for the moving of unplayed musical instruments, and has composed quick-changes into his
staged works. Luke has produced works for 66,365 speakers, compositions that can only be performed in
perfect reversed-time, and for many hypothetical duets between human beings and other organisms.
Despite never having appeared in Vienna, Luke's work belongs to the “semi-fictional” 4th
Viennese
school of composition, the result of a long-term collaboration between himself and composer Richard
Stenton. To grasp the full extent of Luke's body of work is perhaps notably difficult, as it is most often the
medium of expression itself that changes from one composition to the next. Although the compositions
often have a strong conceptual basis, the composer will mostly create and then choose to “live inside”
these for a while, allowing personal traces and imperfections. Luke believes that mimetic behavior is the
key to solving all of the problems in the world, and that the realm of musical listening is, in a sense,
“hyper-mimetic”.
Luke writes a blog Above Amsterdam where he shares his thoughts about the future of musical practise.
Luke appears on stage as his alter-ego Lisa.
Cannot Sleep (2017), and cinematic short film She Flies By Night (2018), Luke Deane has gained a
reputation for some of the most technically ambitious and most interdisciplinary productions in the
Netherlands.
Luke is a conceptual composer with a strong focus on self-expression and emotional pain; his
compositions have both speculative and humorous qualities, often showing the artist failing at an impossibly difficult task on
stage. Luke is known for his idiosyncratic approach to form: he has scored movements for live
photographers, for the moving of unplayed musical instruments, and has composed quick-changes into his
staged works. Luke has produced works for 66,365 speakers, compositions that can only be performed in
perfect reversed-time, and for many hypothetical duets between human beings and other organisms.
Despite never having appeared in Vienna, Luke's work belongs to the “semi-fictional” 4th
Viennese
school of composition, the result of a long-term collaboration between himself and composer Richard
Stenton. To grasp the full extent of Luke's body of work is perhaps notably difficult, as it is most often the
medium of expression itself that changes from one composition to the next. Although the compositions
often have a strong conceptual basis, the composer will mostly create and then choose to “live inside”
these for a while, allowing personal traces and imperfections. Luke believes that mimetic behavior is the
key to solving all of the problems in the world, and that the realm of musical listening is, in a sense,
“hyper-mimetic”.
Luke writes a blog Above Amsterdam where he shares his thoughts about the future of musical practise.
Luke appears on stage as his alter-ego Lisa.
“Don’t be fooled music holds no facts, it’s just an act, it’s just an act”
(Lisa: A Walk on the Wild Side)
Luke’s blog “Above Amsterdam”