Ljudbio VI, 2019

Slottsbiografen, söndag 1 december 2019


Ljudbio VI – 4 högtalare, 10 internationella tonsättare och nästan 2 timmar musik! Uppsalas enda konsertserie med elektroakustisk musik ät tillbaka för sjätte året i rad! På Slottsbiografen. Kurerad av Thommy Wahlström och Girilal Baars.



Ann Rosén

Runtom is a 4-channel piece composed at Visby International Centre for Composers in the beautiful spring of 2009. It is a pure electro-acoustic work made within the digital domain using un-contaminated electronic sounds that where generated using the Max/MSP software for the Shepard sounds and the Clavia G2 synthesizer for the noise-like sounds.

Ann Rosén was originally trained as a sculptor and has been active as a sound artist and composer since the 90s. As well as creating sound installations Ann composes both instrumental and electroacoustic music often utilising her self-made electronic instruments. Ann’s latest album Bredvid was nominated for the Manifest prize 2017.


Jan Liljekvist

Love Chant is a track from the vinyl album ”Dr Jayne Insane – Anti Art Alliance” (Lamour Records, Jan 2014).

Jan Liljekvist – aka Jan af Liljekvist, Jayne Insane or Jay Nein Sane – Swedish composer and musician (violin, guitar, bass, mandolin, flute, percussion, halldorophone, live electronics etc). Makes horrible music in different genres and for different occasions.


Yvette Janine Jackson

Destination Freedom. Yvette Janine Jackson presents the second instalment of her Destination Freedom radio opera series, Destination – Episode 2. The first episode was a meditative electroacoustic experience that begins in the cargo hold of a tall ship transporting Africans to the Americas and traverses time in search of freedom. Here the story continues.

Yvette Janine Jackson is a composer and sound installation artist who combines electroacoustic music, improvisation, and voice to focus on historical events and contemporary social issues.


Stephen Bradley & John Sturgeon

TuningFork. Stephen Bradley and John Sturgeon have collaborated in creating sound art works, as well as streaming events and performances, nationally and internationally for over 16 years. Mutual interest in spatial aspects of surround-sound, the communal power of storytelling and a history of creating unique sonic environments inform both the content and structure of Tuning Fork. The shifting narrative arc delineate a joumey to the central trajectory of the total solar eclipse that raced coast-to-coast across America in August of 2017.

Stephen Bradley’s practice maps and traces our relationship to the ecology and music of place engaging with contemporary civic science, transmedia art, and locale. Currently, Bradley is an active member of Baltimore Underground Science Space and collaborates with a diverse group of trans-local stakeholders involved with creative civic engagement.

John Sturgeon is a media artist-poet practicing in video, performance, installation and acoustic forms since 1970. He has exhibited/telecast intemationally, including solo exhibitions, commissions and era-wide retrospectives. Sturgeon maintains a history of awards and fellowships and is represented in collections of major museums worldwide.


PerMagnus Lindborg

Mao Torika (rev. 2018) is part of a series of compositions that deal with rhetorics. There are sounds from three distinct sources: recordings of Mao Zedung speeches in states of increasing transformation and disintegration; untreated recordings of a toilet flushing mechanism in a flat on rue Boursault, Paris; and sounds obtained from analysis and colour-separation of paintings by Jean Messagier, filtering pink noise. Much of the sound design was done using tools in the IRCAM software OpenMusic. A poetic motivation for the inclusion of the flushing sounds is the not-so-well-known fact that Mao, probably the most complex and disputed of 20th-century political leaders, suffered from chronic indigestion.

PerMagnus Lindborg is a composer, sound artist and researcher. He is assistant professor at School of Art, Design and Media, Nanyang Technological University, Singapore since 2007, and a member of the composer societies in Norway (since 1995) and in Singapore. Lindborg studied piano performance, composition, music computing, and contemporary musicology (DEA Universite de Paris Sorbonne 2003).


Girilal Baars

R******d is an exploration anda celebration of unwanted sounds. The title can be seen as alluding to both redacted and recycled. Composed using sounds and noises expunged from other recording projects by the composer. The sounds were labeled undesirable, suffering questionable aesthetic origins and had ended up on the wrong side of the ever-evolving delineation between what is deemed to be good and bad sound. Lest it seems so, the aim is not just to anthropomorphise unwanted sounds in an attempt to paraphrase societal tendencies. It is also intended as an honest exploration of the tools and the mindset of contemporary sound engineering practice.

The threshold for ”noisy” shifts along with improvements to the digital tools enabling us to identify and isolate unwanted sounds, thus perhaps even affecting our perception of sound.

Girilal Baars is a composer and performer based in Uppsala, Sweden. He works in the fields of acoustic and electroacoustic music/sound art and free improvisation. www.girilal.org


Lise-Lotte Norelius

Sky. Since 2015, when I moved to the top floor with a fantastic view in a Stockholm suburb, I have taken a lot of photos of the sky. To move after 18 years in a dark tiny flat at bottom floor, was fascinating and overwhelming! The sound material consists of converted image formats from one ”sky” photo, further processed in my patches.

Lise-Lotte Norelius (1961) has more than 30 years experience as a musician. Established herself early as a percussionist, but has since 2000 mainly been focusing on live electronics. She studied electroacoustic composition at the Royal College of Music in Stockholm 1998–2002 and has since then composed music for speakers, musicians with live electronics, poetry, theater, installations and dance performances. The preference for small, pathetic, comic and ugly sounds, rhythmic structures and long lines often characterize her music, which can be both beautiful, raw and brutal. The last years she has been using controllable motors, home made noisy devices, synth jewelry, vacuum cleaners and floppy drives, for further processing with her Max/MSP software and various effect boxes.


Julie Mondor

Que reste dans ma vertèbre cette brusquerie. The title of the piece means ”May that brushing remain in my vertebra”. The words are from Andre Du Bouchet’s poetry. This composition is about ”disheveled” … Julie Mondor: I started lessons in classical cello at the age of 10 years. Since then I have explored the contemporary music creations to be in contact with the composition and greenfield sites. I’ve also specialised in baroque music where improvisation and rhetoric are fundamental. Several concerts with The ”Concert Spirituel”. I’ve created in collectivity between since 2003 performances combining contemporary circus , music and dance as a composer and actress. I am diplomate in ”le studio d’electroacaousrique de pantin” directed by C. Groult, M. Marini and J. Prager of acousmatic music composition. I was in residency in art OMI center (NY) in 2014. My acousmatic compositions are playes in festival Futura, Syntax, presence electronique, Lubjio and IMC (USA).


Thommy Wahlström

2019 invention for EA no. 9 Aftonklockan. Inspirationen till detta stycke kommer från ett drömlikt minne av ett tillfälle en sen augusti-eftermiddag då jag vid en vandring befann mig i omgivningarna kring Eriksberg i Södermanland. Det var mycket varmt och jag var utmattad. Jag hittade en plats att vila på i en backe under ett träd, där jag somnade tungt och måste ha sovit en bra stund ty då jag kvicknade till var det redan tidig kväll. Det var något med själva uppvaknandet som var ovanligt. Något som å ena sidan är anledningen till att jag minns detta, men å andra sidan kanske jag aldrig vaknade.

Ett öra i någon del av mig då jag fortfarande sov, hörde i drömmen ljudet av en klocka; En skeppsklocka eller en middagsklocka. Det var som om den var från en annan tid och ville väcka mig till denna tid. Men snart gick det upp för mig att det inte var som jag först trodde ljudet av klockan som var från en annan tid, det var drömmen som hade sina rottrådar i ett länge sedan bortglömt förflutet som inte ens jag själv kände till. I denna tid klingade klockan tydligt och kallade hem till kväll. Men alltså inte endast till kväll, ty ljudet blandades med en inre klang som jag dunkelt kände igen och ville närma mig eller åtminstone vara kvar i. Den klangen ljöd och ljuder fortfarande inom mig och ger emellanåt upphov till vissa aspekter av min musik. Därför kan jag nu säga efter många år att aftonklockan kallade också på mig.

Thommy Wahlström, tonsättare och musiker. Verksam som tonsättare inom nutida konstmusik och EAM. Som musiker inom improviserad musik och folkmusik mm. Utbildad i komposition på Gotlands tonsättarskola och Musikhögskolan i Stockholm. Bosatt i Uppsala.