Descriptions of a few selected pieces. Listen to the whole set on SoundCloud.
A double pitchshift-feedback processing a single oscillator to build up dense textures, moving between harmonic order and chaotic noise. Premiered at Fylkingen, 2011. Made with SuperCollider.
Sarangi-recordings pre-processed through analogue cassette tape, filters and feedback, layered and stretched in real-time with SuperCollider. Premiered at VOLT festival 2011, Uppsala.
A bass interference pattern is combined with layers of pulse-width-switched tone sequences. Premiered at VOLT festival 2011, Uppsala. Made with SuperCollider.
Early sleepless morning 1st of december. Very long notes through resonators.
4-channel tape piece. Clusters of tones, the scale given by dividing the octave by 9, building up dense textures in constant, but very slow, transformations. Made with AlgoScore and CSound. The graphical score is available here (PDF). Also take a look at the flowchart (PDF) of the csound patch.
This composition was made with AlgoScore and CSound for the sleepingbag concert at Fylkingen. It’s a long slowly evolving drone piece, based on filtered noise and several resonators. The graphical score (exported from AlgoScore) is available here (PDF).
8-channel tape piece. Chords of wave-terrain synthesis unfolds their spectra in slow waves, each wave reaching higher and higher, creating dense textures of overtones in evolving patterns. Made with AlgoScore and CSound. Premiered at Ljusfesten at Fylkingen. Graphical score (exported from AlgoScore) is available here (PDF).
This is one of my few non-synthesis works. Layered and transposed recordings of steelbowls bowed with wooden stick. Used in the short-film Människorna och valen (The people and the whale) by Peter Larsson.
In this composition I use electric feedback through a series of audio effects units, like pitchshifter and spring-reverb. This creates a massive sound wall, full of small details in motion, which is then shaped and sculptured in an improvisational phase. Premiered at Ljud-o-ljud at Fylkingen.
Cassette loop and electric feedback.
Rhytmical patterns by interference between distorted tones.
FM-synthesis through electromechanic spring-reverb, and live mixing where small high-frequency noises are placed in the sound image, near the treshold of consciousness.
Electronic piece originally for eight channels. Layered sinusoids with frequency modulation. Premiered live at Fylkingen 2006, where I followed a score to adjust parameters controlling random-based algorithms which controlled pitch and duration of the sinusoids through a table of possible choices.
This electronic piece is based on two basic components: Layering of sinusoids tuned in the overtone series. Analogue feedback through EQ and DSP with a lesliey-simulator algorithm. The sinusoids also has a twist, at some times they are frequency-modulated violently to create a harsh noise-like spectra. The synthesizer and DSP is controlled live through a MIDI-controller, and the whole piece is one recorded live-performance. Premiered at Ljudvågor festival, Visby.
Electronic piece based on electric feedback through reverb, pitchshifter, distortion and EQ. Two layers, one with additional chorus in the feedback loop to provide a repeating pattern, and one which is played by adjusting feedback amount and EQ. Highly improvisative. Premiered at Ljudvågor festival, Visby, together with video by Marcus Nordgren.
Studio edit. Acoustic piece specially written for Andrea Neumann and her Inside Piano. Premiered at Nationalgalleriet, Stockholm.
Take a look at the graphical score (PDF).
Music for computer-controlled acoustic piano.
This is an acoustic piece specially written for Jonny Axelsson and Ivo Nilsson duo. Jonny plays his homebuilt 17-stringed bass-cimbalom. Premiered at Ljudvågor festival, Visby. I used my own software KyCE for the composition, and a custom program to convert the output from KyCE into a LilyPond score.