LJUDBIO XI
Slottsbiografen söndag 7 december 2025
SLOTTSBIOGRAFEN UPPSALA
Program
- Biopic Andra Hand 4’10”
- NATTYL Zuriñe F. Gerenabarrena 8’02”
- phase transition Libby Fabricatore 9’06”
- I den mörka kvällens ohörbara/oerhörda/oerhörbara ljud Thommy Wahlström 11’10”
- Sounds of May Michael Grunditz 5’16”
Paus
- ORTentvined Anja Kreysing 7’00”
- Large Headroom Collider (work-in-progress) Girilal Baars 8’12”
- Kri-Kri (Sterna Paradisae) Ríkharður H. Friðriksson 6’34”
Biopic
av Andra Hand
Mellan tagningarna, bakgrundsbruset från en. berättelse, studion sprakar när bandet vill lyckas.
Tonsättare på EMS, har uppträtt på bl. a Fylkingen, Inkonst och runtom i Europa.
NATTYL (2022)
av Zuriñe F. Gerenabarrena
Nattyl, a word in the Swedish language that means ”howl the night”, uses the voice as a point of departure and return, which is influenced as memory and reflection. The brief poetry of Alejandra Pizarnik and Irish folk song deconstruction is the stimulus from which the structure of the work arises, connecting word and feeling throughout the piece.
I use the sound of the word that I cut, extended, atomise and restructure, to create new textures that interrelate with each other, and turn towards the listener, as a derived form of question in listening.
In this work I have explored the way in which language, phonetics, can move in different layers or collide like surfaces and continue to hit our memory. Voice: MichaelJohn Gallen. Work composed at Studio Alpha in Vice, Visby, in May 2022.
Zuriñe E Gerenabarrena studied composition with C.Bernaola and Franco Donatoni. www.efgerenabarrena.com
phase transition (2018)
av Libby Fabricatore
”phase transition” is a process piece; a sub-bass drone progresses to white noise, punctuated by percussive glitches dispersed throughout. The glitches weave concentric patterns, occasionally synchronising into a polyrhythm before imploding into randomness again. The drone underneath is comprised of a series of layered sound objects that have been processed with filter and delay in order to draw out resonant frequencies.
Libby Fabricatore is an electro-acoustic composer, video artist, and drummer based in New York Ciry, USA. Her fixed media compositions explore processed found sound, ambient/soundscape and field recording, mixed with synthesis techniques. Libby’s electroacoustic and video works have appeared in festivals across North America, Europe and the Caribbean. Recently her work was presented at ICMC Boston 2025 and ISCM World New Music Days 2024 Faroe Islands. Libby is a 2025 recipient of the NYFA Queens Art Fund New Work Grant. She also performs a structured improvisation synthscape set under the pseudonym, asig~.
As a drummer, Libby has performed in Glenn Branca’s ensembles for 13 years, as well as several other avant noise/punk bands in NYC. She completed an M Phil in Music and Media Technologies at Trinity.
I den mörka kvällens ohörbara/ oerhörda/ oerhörbara ljud
av Thormmy Wahlström
I det ohörbara ljudet som ingen kan höra, inte heller jag själv, men utan minsta tvekan kan erfara via andra sinnen än de vi alltid benämner. Benämna är möjligtvis en omöjlighet, åtminstone då det gäller något som vi inte tycker finns, eller något som är så tunt i sitt varande att vår blotta närvaro får det att dra sig undan. Därför behöver vi med största varsamhet lyssna efter det. Kanske.
Thommy Wahlström. tonsättare och musiker bosatt i Uppsala. Sysslar med nutida akustisk och elektronisk konst musik och spelar folkmusik, improviserad musik. Försöker följa melodiernas ursprungliga riktning, förbi människorna och ut i den mörka kvällen.
Sounds of May (2025)
av Michael Grunditz
Utdrag från ”Sound of May”. Sound of May är ett kort album producerat med fältinspelningar. Det som spelas idag är ett utdrag från albumet mixat för fyra högtalare.
Michael Grunditz f 1974 är en Uppsala-baserad tonsättare och elektroniskt ljudkonstnär. Hans genrer är gränsöverskridande och skiftar mellan neo-klassiskt , modern ambient och modernism .
ORTentvined (2025)
av Anja Kreysing
ORTentvined is a quadrophonic fixed-media composition developed from recordings made at a former Nazi-era military complex, the ORT. The work constructs an acoustic architecture from entirely site-derived materials: brittle footsteps through overgrown blackberry vines, resonances of abandoned wooden and concrete floars, metallic fragments of domestic debris, and the shifting pressure of the surrounding landscape - the piece develops a spatialised aural architecture grounded in forensic listening. Through granular micro-processing and controlled diffusion techniques, these materials are transformed while retaining their latent physical and historical identities.
The composition unfolds across a seven-minute spatial trajectory in which exterior and interior sound zones gradually intersect and contaminate one another. Vines appear unexpectedly inside the spatial field, concrete resonances drift toward the front, and domestic shards punctuate the quadrophonic plane. A sustained electric-guitar drone plus a short accordion-shiver operates not as a musical gesture but as structural pressure, articulating the latent tensions embedded in the site through sound. alone. The listener encounters a sequence of tectonic shifts in density, texture, and spatial orientation. These shifts foreground listening as a method .tor approaching contested spaces and ecologies marked by abandonment, overgrowth, and unresolved historical presence.
ORTentvined positions sound as a primary mode of spatial and historical inquiry. It belongs to a contemporary lineage of post-cinematic, site-responsive sound works that privilege raw materiality, perceptual attention, and the unstable boundaries between ecology, architecture, and memory. Anja Kreysing is a post-cinematic composer and sound artist whose work unfolds between expanded cinema, live performance, and post-digital materiality. Her practice merges analogue gesture and digital transformation inta tactile, emotional sound spaces where perception itse!f becomes cinematic. Working with accordion, electronics, and layered video, she creates real-time compositions that treat listening as a filmic act. She performs internationally and co-curates the fabel schwarz-weiss ist die bessere farbe, dedicated to performative expanded cinema. Kreysing is a Certified Deep Listening® Practitioner and an active collaborator in interdisciplinary and media-based projects that expand the field of cinematic Iistening.
Large Headroom Collider (2025)
av Girilal Baars [work-in-progress]
Large Headroom Collider is a the first of three pieces based around the concept of headroom. I.e. signal-to-noise ratios, information theory, cryptography and other heavy-handed concepts about the nature of chaos. The title’s tongue-in-cheekiness is an attempt to offset such pretentiousness.
Girilal Baars is musician and composer working in the fields of electroacoustic music/sound art, improvisation and performance, often with elements from traditional vocal folk music. He has a PhD in composition from the University of Huddersfield, UK. He has collaborated with many artists, including working in Marina Abramovich’s performance at the Museum of Modern Art in Stockholm in 2017 and writing his own part in a production of Puccini’s Turandot later in 2017 (Folkoperan, Stockholm). In 2022 he was the visiting artist at the KEAR residency in Bowling Green, Ohio. www.girilal.org
Kri-Kri (Sterna Paradisae) (2025)
av Ríkharður H. Friðriksson
Kri-kri (2007) är den verbala tolkningen av lätet från silvertärnan (sterna paradisae). Stycket är baserat på lätet från attackerande silvertärnor på norra Island. Deras mycket aggressiva tendenser var inspirationen till stycket. Originalinspelningen var inte helt riskfri, och Eygló Harðardottir får stort tack för att hon riskerade sitt huvud under inspelningen av tärnornas attacker.
Ríkharður H Friðriksson studerade komposition i Reykjavik, New York, Siena och Haag. Hans musik faller inom två allmänna kategorier; han skapar antingen ren elektroakustisk musik, där han arbetar med naturliga ljud och deras rörelse i rummet, eller så gör han liveimprovisationer, där han spelar elgitarr, bearbetad med liveelektronik, antingen ensam eller med Icelandic Sound Company. Han undervisar i komposition och elektronisk musik vid Islands konstuniversitet och Kópavogur.