I am excited to announce that my new album Panoptikon will be released February 2nd on XKatedral.
Panoptikon is a suite of music for voices and electronics composed in 2020 for an installation in the disbanded Vita Duvan panoptic prison (The White Dove Prison) in Luleå.
The work was originally presented as a multichannel sound and light installation where loudspeakers placed in the cells of the prison transmitted the imagined voices of the inmates. Singing on the album are Sara Parkman, Sara Fors, David Åhlén and Vilhelm Bromander.

You can preorder the album and listen to Omnia citra mortem now:
Link to the XKatedral Bandcamp

The title is a legal term that can be translated as: everything until death/everything on this side of death. This piece uses a call-and-response structure between the individual prisoners, starting from single sparse vocal fragments that gradually build into a canonical web of voices, with each voice striving for community while being hindered by the forced isolation of the prison architecture.

This northern prison and its hidden history has been on my mind for years now and it has brought me on quite an unexpected journey, both musically and conceptually, which I look forward to sharing with you all.

Thank you for listening, more info to come.


Aether is an audiovisual composition for light, brass instruments and synthesis, specifically composed for the re-opening of Båtsmanskasernen II on Skeppsholmen. To enter the building one must pass through a portal made of copper, bronze plates and gold leaf, as well as stones cast in bronze on the ground. This portal is Per Broman's work Eter from 1992.

In this piece I have drawn inspiration from Per Broman's portal and especially the idea of Aether, which, according to disregarded physics hypotheses, was believed to be a form of invisible matter functioning as a kind of fifth light-bearing element.
On several occasions during the duration of the installation the Aether installation will be expanded to include a live musical performance by a brass trio, consisting of trumpet, trombone and tuba. The brass instruments will complement the harmonic climate of the synthetic sounds with an arc moving from blocks of static intervals to individual lines and melodic ornamentation.

Brass trio performers: Ivo Nilsson, Tobias Wiklund, Sami Al Fakir och Emil Strandberg.
Application for light control: David Granström.

Trio performances:

Thursday 16/2: 18.00 & 19.00
Fredag 17/2: 17.00
Tisdag 21/2:. 19.00
Onsdag 22/2: 18.00

Thanks to Statens Konstråd.

The Vivian Girls

Henry Darger's story of the Vivian Girls, in “What Is Known as the Realms of the Unreal” is possibly the longest work of fiction ever written, found in his room after his death along with illustrations depicting surreal flowery landscapes populated by children and fantastic creatures.
His mixed media collage artworks holds scenes of war, naturall disasters and horrific terror depicting young children being tortured and massacred.
In these panoramas the story of the seven Vivian sisters takes place, following their rebellion and attempts to free every enslaved child from the Glandelinian overlords.
We welcome you into Henry Dargers dangerous, imaginative and merciless realms. When nature and humanity collapses children will rebel against the adult world in order to save whatever fragments of humanity is left.

The Vivian Girls will play at Göteborgs Stadsteater until the 27th of January.

Direction: Linda Forsell.
Dramatisation: Felicia Ohly.
Scenography & costume: Agnes Östergren.
Composer: Maria W Horn.
Light design: Mira Svanberg.
Mask: Sigrid Nathorst Windahl.
Choreography: Soledad Howe.

Funeral Folk - Maria W Horn & Sara Parkman
Release date july 6th

Some photos from las Pawillion Poznan, captured by BW Pictures and a moment from Gärten der Welt, captured by Roland Owsnitzki.

Dies Irae in Katariina Kirik
Tallinn 05/05/22

Thank you Naiskoor singers and Edmar tuul for making this come together with such power and beauty.Thanks to Tallinn Musik Week for hosting this performance and to Giorgio Salmoiraghi for all of the effort and care poured into this project ~

The Dawn Chorus premieres on Thursday, March 10 at Elverket in Stockholm, followed by a tour in the north of Sweden.
I am glad to finally get to share the outcome of this process, as it have inhabited much of my thoughts this winter ~

Dance: Rebecka Berchtold, Sam Huczkowski, Nastia Ivanova, Chang Liu, Leila Verlinden, Jade Stenhuijs, Jonathan Starr, Alban Ovanessian

Choreography: Stina Nyberg
Scenography & Costume design: Jenny Nordberg
Music Composition: Maria W Horn
Light Design: Sofia Linde & Hannele Philipson
Hair and Make up: Jessica Hedin
Rehearsal Direction: David Norsworthy

I had the pleasure of once again presenting Dies Irae for a live audience, this time working with Voc-a-lises vocal quartet for a special performnace on Saint Ghetto Festival at Dampfzentrale in Bern.

Photos by Sabine Burger and Nat Urazmetova.

Stigsjö Kyrka is the first in a series of rehearsal tapes containing recordings of pieces for four handed organ and electronics. The pieces are composed for, or adapted to, specific organs and the acoustic environments they inhabit.
Stigsjö Kyrka is a church located in the area where I grew up - in the countryside of Västernorrland, in the north of Sweden. The current church is a stone construction built on the same spot as two earlier wooden churches, one of which burned down in a fire caused by a lightning strike in 1559.

The pieces are arranged and played together with Mats Erlandsson, using both a small choir organ and the grand pipe organ. This musical arrangement uses amplified and electronically treated organ in conjunction with a fixed electronic part to create a hybrid instrument with a transformed timbre still anchored in the harmonic language associated with the music traditionally performed on the instrument.

That day of wrath / that dreadful day / shall heaven and earth in ashes lay.

Me and Mats Erlandsson got a visit from Svedish television when rehearsing the Organ in my home region at Stigsjö Kyrka.
The program is avaliable at SVTplay

Together with Mats Erlandsson, I will be performing a set on the pipe organ at the Grazer Dom on the occation of Elevate Festival 2021.
The evening will be shared with Annan von Hausswolff, Lucas Lauermann and Brian Eno.

Den Vita Duvans Lament ~ Excerpt

Inside the installation at Vita duvan, nov 2020.


Vita duvans lament is a multichannel audiovisual installation for Luleå Biennial, one of the oldest international art biennials in Scandinavia, taking place in Norrbotten, the northernmost region in Sweden.The installation will open with limited capacity from the 21st of November 2020, and run until the beginning of February 2021.

Vita Duvans Lament combines light and electronic sounds with a recorded vocal cycle, specifically composed for the cell prison Vita Duvan (The White Dove) in Luleå. The cycle is composed based on the imagined individual voices of the inmates, represented by loudspeakers placed in the various cells of the prison. Together they form a slowly evolving melodic weave, the voices striving to express a common experience. Each voice strives for this commonality, but is hindered by the forced isolation of the prison architecture. The periodical circulation of amber lights directed both inwards from the prison cells and outwards towards the prison tower are reminiscent of the cyclical shift between daylight and darkness.

Vita Duvan in Luleå is the only Swedish prison built with inspiration from the British philosopher Jeremy Bentham's Panopticon. The circular prison structure with its central monitoring site was meant to create a sense of invisible omniscience whose main function was to make the inmates aware that they could be constantly monitored, without having any way of checking if this was the case. From the opening of the prison in 1856 until its closure in 1979, prisoners were detained for, among other things, theft, perjury, drunkenness, domestic violence and vagrancy. Over the years, more than fifty-four women stayed in prison charged with child murder, a crime that needed to be atoned for by beheading and burning at the stake.

How is a consciousness affected by the sensory deprivation that an isolation cell entails? In Vita Duvans Lament Maria W Horn is trying to imagine the experience of the individual prisoner, whose first three years were often spent in total isolation, during which all contact with other prisoners was strictly forbidden. The silence and uncertainty, the scarce space whose only indication of the passage of time is the cycles of daylight. Prisoner biographies and interrogation records testify to how the inadequate nutrition, thin air and total absence of stimulation forced the prisoners to develop strategies to stimulate the brain to avoid suffering from psychosis.

Through the extensive reform of the Western penal system from the 18th century onwards, the former corporal punishments of torture and death, as well as punishments of shame and public humiliation were replaced by new technologies for social control through spatial isolation and surveillance. The interior of the cell prison was seen as an efficient and silent machinery, through which the isolation - a nightmare for the soul - would gradually bring about an inner change of the prisoner.

The vocal cycle is sung by Sara Parkman, Sara Fors, David Åhlén & Vilhelm Bromander. David Granström has developed a custom application for audiovisual syncing of the lights. Thanks to Genelec for lending me loudspeakers, and to Anton Andersson, Eric Sjögrén and Erik Berg for lending me lights.


For this years edition of the Göteborg Art Sounds festival I am presenting music specifically composed for the acoustic properties of the former machine hall at Ställbergs Gruva in Bergslagen. A system of multilayered feedback loops Is used to enhance the resonant frequencies inherent in the architecture of the vast concrete structure. The resulting sound is then utilized as a basis for structuring the harmonic material in the pieces presented at this concert. The audio field has the characteristics of a double exposure - harmonic resonances drafted from the space itself are being superimposed on the space that formed them.

The area in which Ställbergs Gruva is situated has a long history of mining, placing it as one of the epicentres of Sweden's rapid industrialisation in the first half of the 20th century. The closure of the mine in the eighties led to a massive decrease of population and neglect of social services in the area, and according to current statistics, the municipality will be the first in Sweden to reach complete de-population.

In contrast to the general development in the area the discontinued iron mine was re-opened in 2012 as a centre for cultural activities and critical thought by the organization The non existent Center. Since 2012 the mine has hosted several artists residencies, and I have had the pleasure of being a recurring guest on the premises. The music presented here is the result of my works at the mine from 2018 to 2020. The performance was recorded in September 2020 with help from Mats Erlandsson. The full performance will be streamed at the GAS-festival YouTube channel, oct 16th 21.00-22.00.


In August of 2016 Maria W Horn and Mats Erlandsson traveled to Balada in the Terres de I’Ebre region of Catalonia, Spain, for a two-week residency courtesy of the Eufonics festival in collaboration with EMS.
The geographical characteristics a visitor first encounters in the Terres de I’Ebre delta are defined by the development of industrial agriculture. Endless rice fields stretch through the flat landscape, framed by canals of water to sustain growth. Even the air is saturated with a vague scent of rice. This transmutation of the soil impacts the sonic environment, the buzzing of the irrigation system, the hypnotic constant chirping of crickets, the loud bang from the water pump that echoes through the delta at regular intervals.
Taking the opportunity to collaborate on a project specifically made within the context of the aural environment they found themselves in, and using the resources available to them, the pair decided to make a musical work based entirely on field recorded material transformed through extensive digital editing and processing. Working quickly in the isolation offered by the residency they recorded found material at night and spent the days shaping these recordings into four compositions that move on a dense continuum between drone, noise and generative music all imprinted with the textural characteristics of the immediate surroundings of that time and place.
Through the four compositions the work shows a sonic imprint of an environment shaped by human hands over an almost endless period of time, as heard through the ears of two transient visitors processing their sliver of time in the area as it was unfolding to them. The resulting music was performed in concert during the Eufonics festival of 2016 and was originally released on cassette tape by XKatedral in 2017 under the moniker Dufwa. The video is made using parts of a documentary film about the area, made in 1962 by Joan Capedevila Nogués.

Photo by Jakob Ekvall


The premiere performance of Dies Irae, for female voices and synthesis sung by Lumen Voices and recorded in the Eric Ericsson hall in Stockholm, may 30th 2020. Thanks to Lumen Project Stockholm for making this come together in such a beautiful way. The whole streamed event is avaliable at Lumen Projects

Dies Irae is a latin poem describing the last judgement, the time when the souls of men are summoned for a final divine judgment and the unsaved are cast into eternal flames.

Lacrimósa dies illa, / qua resurget ex favílla / iudicándus homo reus. Dies irae, dies illa / solvet saeclum in favílla.

Den dagen är full av tårar / när ur askan uppstår / den skuldtyngda människan till dom. Vredens dag, den dagen / skall upplösa världen i aska.

That day of wrath / that dreadful day / shall heaven and earth in ashes lay. Full of tears and full of dread / is that day that wakes the dead / calling all with solemn blast / to be judged for all their past.

Interview for 15 questions

“Interlocked Cycles for Sine Waves” is now released on the Irrlicht label as part of a cassette compilation conceptualized around the idea of Transmutation.

”Maria W Horn initiates a dialogue with the modern mythical figure of Satoshi Nakamoto. In “Bitcoin open source implemen-tation of P2P currency”, published in the wake of the financial crisis of 2008, Nakamoto urges us to replace the trust-based model in corporate and state finance with cryptographic chains of transactions through a decentralised virtual currency. Analogous to an accelerating freeze frame of the innumerable algorithmic trades taking place every second on the global stock exchange; the glacial mounting of both tempo and tension in Horn’s composition slowly reveal the complex tapestry which its seemingly simple and repetitive patterns weave.”

Transmutation – the conversion of one element into another – is the overarching principle for this release in which four contemporary artists transform iconic historical texts into sound; through breath and bells, field recordings and strings to the repeating cycles of pure sine waves. The texts themselves deal with themes ranging from the elevation, or divination of the human soul, to the conversion of electrical currents into cryptocurrency. Together they loosely trace their common denominator – Alchemy – throughout a Western history of ideas.

Matt McDermott Reviews Mutek Mexico for Resident Advisor. Photos by Conception Huerta.

"I was pleasantly surprised to spot Maria W Horn, the Swedish experimentalist and XKatedral cofounder, on the bill. Before her set, she told me her audiovisual show consisted of two strobing LED lights. She delivered MUTEK's most dynamic performance, oscillating between thrilling noise and sub-bass violence, and more subtle vibrations—funereal organ work along the lines of Kali Malone or Ellen Arkbro—which easily bled into minimalist sine wave experiments. Unfortunately, during these quiet sections, Circle Of Live's beats were easily audible in Sala C. Still, Horn's alien frequencies pleased a small and devoted crowd of freaks. A man inexplicably wearing a luchador mask lurked to the left of the stage. Another in sunglasses stood blissful and motionless against the strobes."

Epistasis is out today, available for listening on Spotify and Apple music, and for purchase at the Hallow Ground Bandcamp.

"Like the snow in the cover, an almost White on White composition, the players lay down sheet after sheet of tones that, even when conforming clearly cut sequences, feels like staring into the sky. There’s a certain intensity to it, gazing into something too vast to apprehend, but small enough to take in, the density of any single point enough to cause a measure of vertigo. Just when the first “Cycle” is coming to an end, with all its elements now in play managing to keep the illusion of the simplicity of the first few strokes of piano, the titular track emerges from the storm."

Full review avaliable at A Closer Listening.

I am happy to announce my upcoming album Epistasis, to be released by Hallow Ground on October 25th. Epistasis is comprised of four pieces for String quartet, Disklavier and Organ respectively. Each piece channels influences ranging from black metal to minimal music, and utilises a combination of acoustic sources and algorithmic, home grown synthesis.
The title track Epistasis for String Quartet, electric guitars and electronics is available as a preview. The piece was premiered by Malvakvartetten at Konserthuset in Stockholm 2018, and were later on complemented by feedbacking electric guitar overdubs while mixing the piece.

I am currently composing music for a new version of the classic greek tragedy Fedra/Hippolytos, to be premiered in the end of september at Dramaten, (The Royal Dramatic Theatre in Stockholm). The narrative traces Fedras desire for her stepson, the taboo and inherent power stuctures linked to gender, sexuality and age. New version by Tora von Platen, directed by Tatu Hämäläinen, scenography by Anastasia Ax, costume by Jenny Nordberg, Ingela Olsson as Fedra, Rasmus Luthander as Hippolytos. The music will be composed for electronics and percussion, to be performed by Magdalena Meitzner.

I had the pleasure of making a mix for NTS Radio [linked here]. Includes music by Maja S.K. Ratkje, Päivi Hirvonen, Meshuggah, Runhild Gammelsæter, Lasse Marhaug, Jessica Ekomane, Lisa Stenberg, Remo Seeland, Ellen Arkbro, Catherine Christer Hennix, Viktor Orri Árnason & Yair Elazar Glotman, Sara Parkman & Samantha Ohlanders, Anguished, Förgjord, David Granstrom, and some excerpts of new music from my upcoming release on Hallow Ground.

Thunderstruck US Premiere at CounterPulse, San Francisco Apr 25-26, 8pm
Alternating Currents US Premiere at Stanford Live, Stanford University, 27 april 19.30pm

Sunday afternoon gear-talk with Jessica Slxgter for Nuts And Bolts! tune in at

Texte zur Kunst review of CTM Festival.

Spring shows!

Interview in the Lake Radio

On this years Shape-roaster

Happy to announce an upcoming gig at HAU theatre during this years CTM festival! More info here

Stream my mix for Caterina Barbieri and Carlo Marias Fulmen radio show on Cashmere radio! Listen here

Interview in Stray Landings

Review of Kontrapoetik in Passive/Agressive

Kontrapoetik is now avaliable for pre-order on the XKatedral bandcamp.
The limited edition 12"vinyl includes a sheet of lamented pressed flowers from Ångermanland, picked, dried and arranged by myself.

for multichannel loudspeakers and lights

Interlocked cycles is an audiovisual piece in eight voices of synchronised sound and lights. The audio is generated within the Supercollider framework using phase modulation synthesis. Using linear progressions of density and tempi, the compositional process explores a gradual acceleration in aural and optical patterns.

Epistasis is a new piece for string quartet and tape, comissioned by Konstmusiksystrar in 2017. The piece will be premiered by Malvakvartetten on the 20th of april 2018 at Konserthuset in Stockholm. Epistasis is a string quartet in eight voices, where the acoustic performance is doubled using recordings of the Malva Quartet played back live as an electronic tape stem. Through amplification techniques the string spectra are enhanced and slightly distorted. Epistasis focuses on evolving progressions in F minor, the idiom being inspired by the sound and harmonic structure of doom and black metal music.

More info and program at Konserthuset Stockholm

"Less shot through the head with a diamond bullet than being walloped repeatedly with a crystal hammer, Maria W. Horn’s ‘Excitation – Frustration – Excitation’ matches elegance with brutality in admirably brain-wrenching fashion. Tough kickdrums and serrated noise jags serve the pain, their unquiet digital gristle occasionally recalling Ben Frost at his glowering best. The title track is a fine example, its percussion stomping holes in the space time continuum through which pour gibbering waves of sleety, saturated howl."

Read the whole review at: we need no swords

Facshinoma festival at Mooi Collective Mexico
Review (in spanish) at

Interview on

Workshop at Centro Cultural de España en México
on sound, field recording and music production


"like being zapped by lasers and undergoing some sort of mind reading experiment being executed by a droid."
Review of Diverted Units on

Interview (in japaneese) by Hiroko Tsuchimoto

Podcast for Stray Landings