Mats Erlandsson and Maria W Horn meet in heavy synthesis and intricate digital processing. Their debut release, Fältinspelningar från Terres de l’Ebre (Field recordings from Terres de I’Ebre), defies the standard conception one might have about field recording music. This release scrapes the natural source-bonding from their collected insectoid recording and sonically stretches them on a continuum between drone, noise and generative music.


Funeral Folk is a musical collaboration between Sara Parkman and
Maria W Horn. Together they explore rituals of grief and the musical phenomenology of death through their respective crafts and influences. Maria’s and Sara’s musical relationship dates back to when they were both teenagers playing in the same band in their hometown Härnösand. This band was at the time playing a blend between folk music and rock, influenced by the wave of progressive music deriving from the north of Sweden at the time. After more than a decade of cultivating their respective musical paths, the process of Funeral Folk became a way to reconnect to their shared background, resulting in an array of influences ranging from minimalist spectral music to folk melodies from Ångermanland, psalms and finnish black metal.


The Earthward Arcs cassette contains two pieces dating from 2020 focused on spectral musical exploration in between the realms of the acoustic and the electronic. Starting from small snippets of code - Maria is using the SuperCollider language to create precise sonic frameworks - these algorithmically generated sketches have developed along with Vilhelms unique approach to the double bass - his focus on acoustic details, intonation and timbre.


Alternating Currents is an intermedial electricity concert choreographed and performed by Maria W Horn, Stina Nyberg and a frequency-controllable Tesla coil. The concert is one part of a long-term obsession with the inventor Nikola Tesla and the early 1900’s phenomena of touring electricity shows. Through flashing lightning bolts, the Tesla coil creates a sound which resembles distorted trance synths threading piercing melodies through ozone-filled air. In combination with dialogues reflecting on science, magic and electrocution, the concert creates a womb-like atmospheres with the lingering threat of bodily harm. There is a lack of public fascination with electricity, but Alternating Currents is here to cure that.


The Micro Modular Quartet is an ensemble built around a small piece of legacy hardware called: The Micro Modular synthesizer. Inside the red box anything can happen. All of the basic building blocks for synthesis are made available to the user. The little red box has been a trusted companion for Drone, Noise and new music makers for over a decade. The Micro Modular Quartet have chosen to write and perform music with this particular piece of hardware for its focusing paradigm both in terms of timbre and control.


Sthlm drone society is an association of composers and musicians who all share an interest in slowly evolving timbral music, also called drone music. By placing value in traits deriving from patience and by rewarding focused listening, we believe that drone music has the potential for profoundly meaningful sensory experiences.


Hästköttskandalen (HKS) is an audiovisual quartet comprised of Swedish and American composers and musicians (Ellen Arkbro, Marta Forsberg, Maria W Horn, Kali Malone, and formerly Elsa Bergman). The music is an array of art rock, slow wave, and neo- psychedelia. The ensemble utilyzes real-time video feedback and analog film manipulation, just intonation, improvisation, and various synthesis methods. A defining characteristic of Hästköttskandalen’s music is the equal union of sound gleaning from acoustic string instruments, electric guitars, and an 8mm projector. Their long musical process reveals layers of harmonics with rotating rhythmical cogs, its colour and iridescence calmly transforming.

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