A piece for Game call, French Horn & SuperCollider. Premiered at Musikens Hus Katrineholm, Sep 2021. Also performed in South Africa and at Atalante, Göteborg.
An audiovisual piece in which we look at the invisible and listen to the inaudible. With the help of an infra-red camera and coils that pick up electro-static fields, video and sound material is generated live. That material is then transposed into audible and visual range and further processed, manipulated and decorated. Premiered at Acker Stadt Palast, Berlin, May 2019.
An interactive audiovisual composition for 3DMIN's pushpull instrument. Commissioned by ZKM | Institute for Music and Acoustics. Premiered at Globale, ZKM Kubus, Karlsruhe, Feb 2016.
Complete code and instructions for performing: github.com/redFrik/biopump
little green men🔗
An audiovisual composition for fluegelhorn, videocamera and videoprojection. Premiered at Kontraklang, Heimathafen, Berlin, Dec 2015.
live at Heimathafen
Released 3 Nov 2014: medley (CP0X0F) on the ChordPunch label.
If you do not want to buy the record, you can type in the code and render your copy of the sound file. The program code for the music is in SuperCollider3 format and available on the ChordPunch release page.
Synthetic bird calls. Released on cassette (ALKU 99) and also presented as a multichannel audio installation.
01 alias for live coding improvisations and audiovisual feedback systems. I don't believe in 'fixed products' so no CDs, tracks or finished pieces available. Read more about live coding and our manifesto at toplap.org. See also interactive programming.
- there are excerpts and examples at my SoundCloud account.
- 31 practice sessions as mp3. These were all coded from scratch - synthesis and all - in approx 1hour. The corresponding SuperCollider/JITLib code is also available. One of them ended up on the TOPLAP CD.
- another 31 sessions as code and as mp3 excerpts.
- and more tiny pieces as code+mp3. These I also coded from scratch within a 1h time limit.
Audiovisual feedback system. Live at k:ita, Berlin May 15 2008, photo: Julian Percy
A piece with hundreds of led lamps. In collaboration with Jenny Michel. Premiered at the festival Sound of Stockholm 2013. Also performed at NK in Berlin.
An audiovisual piece from 2012 using my custom controller. Performed in London, Malmö, Berlin, Stockholm, Oslo, Norberg, Mexico City.
An audiovisual performance piece where I take on the role of a sad clown with a great fascination for red spheres and noisy sounds. All electronics, wireless sensor network, generative music and graphics were developed during my six months as artist-in-residence at IAMAS, Japan 2008.
redUniform has been performed ten times; in Japan, Sweden, Germany and Spain.
Ogaki biennale, Japan 2008, photo: Yosuke Kawamura
SuperCollider Symposium, Berlin 2010, photo: Joker Nies
Geiger festival #1, Göteborg 2011, photo: Andreas Engström
A ten minutes long audiovisual piece for solo horn. Commissioned by Sören Hermansson. Premiered at NK, Berlin, Oct 2014 (video). Also performed at Worm in Rotterdam, Uppsala konsert & kongress, GAS festival Trollhättan, James Madison University Harrisonburg Virginia, Nordic horn symposium Biskops arnö, Vardagsrummet, Fylkingen, Geiger and Nymus. See also fluiddynamix.se.
"redeem (2014) är en dynamiskt föränderlig ljud och bildkomposition specialskriven för Sören Hermansson. I stycket förstärks och överdrivs alla ’icke’-ljud i framförandet. Ljudet av andhämtning, prasslande kläder, instrumentets mekanik och högtalarsystemets brum återkopplas och förstärks till ett massivt brus. När Sören sen spelar ’riktiga’ toner på sitt horn, trycks bruset tillbaka och dämpas. En tanke med stycket är att låta de rena och vackra tonerna från det akustiska hornet höras mot en fond av elektroniskt förstärkta oljud. En annan, med tanke på titeln, är att Sören kan rätta till och kompensera för de fula ljuden han själv skapat. Men bruset kommer alltid tillbaka och till slut tar det över totalt. Grafiken är en dekorativ representation av vad som hörs."
An audiovisual piece commissioned by the Peärls Before Swïne Experience. It is a piece for violin, piano, flute and cello plus generative electronic sounds and graphics. The musicians follow a score that is also the projected graphics. Premiered at the Gothenburg international film festival 2013. Also performed twice in Canberra April 2013, once in Luleå Sept 2013 and also at Kulturhuset Sound of Stockholm Nov 2013
"it takes all the running you can do, to keep in the same place. If you want to get somewhere else, you must run at least twice as fast as that!"
-- Through the Looking-Glass by Lewis Carroll
redQueen is an audiovisual system in which everything always goes faster. Sound and graphics spin around in an ever-increasing speed - until it all comes to a complete standstill. This piece plays with the thresholds of human perception. Premiered at NK in Berlin 2014
The Chaotic Singer🔗
A battle between a human performer and a malicious software program. No matter how well the performer 'sings', the software always win. The work is based on an earlier piece called 'The Choir, the Chaos' and was first performed in Corfu in May 2010. Also performed in Barcelona Oct 2010.
The Choir, the Chaos🔗
A networked piece commissioned and performed by European Bridges Ensemble. Premiered 2009 at Klangwerktage (Hamburg) and also performed at the Making new waves festival (Budapest) and Sonorities festival (Belfast).
An audiovisual performance for ISCM, World New Music Days, Växjö, Sweden 2009
An audiovisual noise duo with Ann Rosén. See knyppel.se.
Aktiv bullerbekämpning (ABB)🔗
Noise duo together with Mathias Josefson. Trying our best to cancel out all noise from the world.
live at Norbergfestival04
Wanna form a virtual band?🔗
My idea has been to build a simple and easy to use framework for webjamming using the opensound control (OSC) protocol and SuperCollider by James McCartney. The framework now exists and it let members of our virtual band contribute with their favourite instruments, i.e. sounding patches written in SuperCollider, to be played by themself or by others live via the internet.
The number of people participating in this virtual band is varying from time to time and the overall structure is very loose. At its most, there have been seven players from both North America and Europe jamming together using this framework. And whenever there is a concert gig coming up, we just bring as many members as possible together over the net and makes sure there is one computer running the current set of instruments at the concert location. As no audio data is ever transferred, just control information, we have got no problems with latency or lousy audio quality due to compression.
The framework is currently based on a peer-to-peer network structure but that is subject to change in the near future. A client/server network has some significant advantages in this case mostly concerning the distribution of instruments within the network and dynamic connections. The new server application that I'm now working on will let people log in, share instruments with other connected players and jam using a simple SuperCollider client patch.
PDF Digital Creativity 2003, vol.14 no.2
The first cd of algorithmic dance music, published by mushimushi ltd (2001), has some of my music on it. mushimushi.net/morpheus/ (archive.org).
Thanks to Julian Baker and John Eacott for producing.
This is my first piece for tape (1997). It's built by manipulating sounds coming from a hurdy-gurdy (trad. folk instrument).
Music for a 30min piece by Zufit Simon.
Performances: Braunschweig (16-17 Mar 2018), Jena (24 Mar 2018), Munich (15-16 Dec 2018)
I LIKE TO MOVE IT🔗
A piece for 3 dancers, 6 speakers and 3 microphones. In collaboration with Zufit Simon and Artblau.
Performances: Berlin (15-17 Feb 2013, 5-7 Feb 2015), Braunschweig (22-23 Feb 2013, 9-10 Feb 2018), Jena (3 Nov 2013), Hamburg (1-2 Mar 2014), Cologne (10 Jun 2014), Munich (7 Aug 2014, 16-17 Feb 2018)
Passable, not Presentable🔗
Music and visuals for a solo by Zufit Simon. Four channel sound with graphics projected from above onto the dance floor.
_trailer, _trailer, _video
Performances: Braunschweig (21-23 Oct 2021), Munich (15-17 Sep 2022, 5-6 Apr 2023)
Music for a piece by Zufit Simon. Nominated for Deutscher Theaterpreis Der Faust 2023.
Performances: Braunschweig (18-19 Nov 2022), Berlin (27-28 Jan 2023), Munich (16-18 Feb 2023), Krefeld (3 Nov 2023)
Music and video for a 55min piece by Zufit Simon.
Performances: Braunschweig (28 Feb - 2 Mar 2019), Berlin (31 May - 1 Jun 2019), Munich (27-28 Sep 2019, 28 Okt 2020, 29-30 Sep 2021)
STRANGE FOREIGN BODIES🔗
Music for a 55min piece by Zufit Simon.
Performances: Munich (20-22 Jun 2019, 1-2 Oct 2021), Braunschweig (1-3 Okt 2020), Sofia (10 May 2022), Berlin (27-28 Sep 2022)
Big band music🔗
This suite from 1997 has never been played due to the high demands on the musicians.
B.C. I, 03:40, 5.3MB
Note! MIDI synth sketch
B.C. II, 02:37, 3.8MB
Note! MIDI synth sketch
B.C. III, 02:54, 4.2MB
Note! MIDI synth sketch
Grönt Monster (The Green Monster)🔗
A 10-minute piece inspired by old low budget horror movies. It's built around a trumpet feature and written in 1996 for Tim Hagans and Norrbotten Big Band.
Högskolejazz (Academic Jazz)🔗
Performed by KMH Jazz Orchestra in Feb. 1999, Conducted by Maria Schneider.
My very last composition for big band became more of an acid jazz thing with heavy use of 'the amen breakbeat' drum loop. It was performed at the jazz festival in Sandviken 1999 and featured Lasse Lindgren on electrified trumpet.
Klubbjazz, 04:22, 6.3MB
Note! MIDI synth sketch