Matheus Lodewijk (1973), known as LudoWic, is a Dutch musician, composer and
multidisciplinary artist whose work moves between experimental electronics,
forgotten instruments and spatial sound. Born in Venlo and raised in Dongen, he
grew up in an environment where music and visual expression naturally
coexisted. His father’s musicianship and his mother’s visual sensitivity continue to
shape the way he approaches sound today — not only as something to hear, but
as something physical, tactile and deeply connected to memory.
After being accepted into both art school and the conservatory, Lodewijk chose
to study music at Codarts Conservatory in Rotterdam. Although visual art has
remained present throughout his work, music gradually became the central
language through which he explores emotion, time and perception.
Under the moniker LudoWic, he developed a distinctive sonic world built around
aging synthesizers, tape machines, resonator speakers and forgotten electronic
instruments whose instability and unpredictability became essential parts of the
creative process. His music often balances fragile intimacy with overwhelming
physicality, combining nostalgic textures with a cinematic sense of space and
movement.

Alongside his solo work, Lodewijk has written and produced music for artists
including Wende, Sevdaliza and Santan Dave, and composed music for the
acclaimed indie video game Katana ZERO. His background in visual art and
spatial thinking continues to subtly influence both his compositions and live
performances, where sound is approached as something sculptural and physical
rather than purely musical.

International recognition expanded significantly with the release of SUPER8
MEMORY in 2024, an album centered around the Trautonium — one of the
earliest electronic instruments ever created, developed in 1929. Rather than
treating the instrument as a historical artifact, LudoWic approached it as
something alive and emotionally immediate. The album introduced the sound of
the Trautonium to a new international audience and earned praise from artists
including Pete Townshend, Ólafur Arnalds, Joep Beving, Patrick Watson and
SYML.

His latest work, Nunc Stans, marks a further evolution of that sonic universe.
Created during four months of near-total isolation, the album reflects on
impermanence, memory and the experience of time itself. Alongside the
Trautonium, LudoWic brings the Ondes Martenot into his work — another rare
early electronic instrument whose voice carries both fragility and intensity. While
both instruments emerged during the early development of electronic music in
the twentieth century, they have rarely been brought together this explicitly
within a contemporary musical context.

This physical and emotional immediacy continues into LudoWic’s live
performances. Surrounded by an intricate landscape of analog instruments,
cables, resonator speakers and tape echoes, every sound is created and
manipulated in real time. Rather than hiding the process behind screens or
abstraction, the performances place the act of sound creation fully in view,
allowing audiences to experience not only the music itself, but also the gestures,
imperfections and interactions that shape it in the moment.
LudoWic has performed at venues and festivals including Het Concertgebouw,
Funkhaus Berlin, Eye Filmmuseum, ADE and Artonov Festival, and will tour
internationally throughout Germany, Denmark, Belgium and the Netherlands
from September onward.

Across recordings and live performance, his work continues to explore how
sound can influence our perception of time, presence and emotional memory.