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