electronic music



let the atrocious images haunt us – part I of Cycle II from synthetic fragments
electronic music
Instrumentation: electronic music
Duration: approximately 5 minutes

Program note:
Does shock have term limits? How disconnected are we? Or: Are we disconnected at all? – our supersaturated time may be hauling us inside death. With our senses and spirits fatigued, our incited souls nevertheless continue to reel from what we see. The cosmopolis of images thrives in our hiving minds. We are far from the realities of tanks, refugees, smart-bombs, bleeding. Yet we are engulfed by images that leave people (us, undone) bruised, ignited, hardly voyeurs, more like bewildered participants in a sensory conflict whose domain is also the psyche. We welcome clarity in speech yet still can’t sort out our confusions. War, rarely in our interest, yet sometimes necessary: but what is the necessity now?
Yet even after reverberations of disaster, the images repeating, we appear to know no other way except to start another war. National consensus means that tragic images “haunt,” but some priority compels us to override those impressions. Our lives are touched, and yet killing doesn’t stop.


electronic music
Instrumentation: electronic music
Premiere: 23 september 2016, Mexico City
Duration: 7 minutes 10 seconds

Program note:
(from Greek ἀρτηρία (artēria), meaning “windpipe, artery”) are blood vessels that carry blood away from the heart. In this electro-acoustic piece, which forms part IX of a larger piece for cello solo, electronics and visual performance, I have imagined this vessels, pulsating blood through the body. Formally the piece contains 2 “parts” building a sort of arch, or increase/decrease of blood pressure of you will. The first part is static in its character, with one sound with different microtonal changes in the 6 channels respectively. The second part, by contrast, is very varied with different information being sent through the ”arterias”, so to speak. All sounds are electronically produced and the whole sounds-scape is clearly electronic.

Recording: (stereomix)


electronic music
Instrumentation: electronic music
Premiere: 26 Mars 2016, Tuscaloosa, USA
Duration: 3 minutes

Program note:
astrocyte (Astro from Greek astron = star and cyte from Greek “kyttaron” = cell) are characteristic star-shaped glial cells in the brain and spinal cord. Recent research (2015) has shown that these cells have a important role to help the brain to remember. They have also been showed to occilate.

In this electro-acoustic piece, which forms part III of the piece “Ontology of Becoming” for cello solo, electronics and visual performance, I have imagined this “cell – world”; how these cells sends information and how that may sound like.

Formally the piece contains 10 “phrases” of different lengths. (These different phrases; their lengths, construction etc. are connected to the piece in its whole and could be regarded as a way at looking into the brain and see, through the astrocytes, how it treats the memory (and pre-memory) of the piece… a kind of information flow of every part… but condensed).

astrocyte forms the 3rd part of a large scale work for cello, electronics and visual performance.
The visuals are by Thomas Marcusson.


Demo of visual performance (by T. Marcusson:


Unhörbares hörbar machen – Part II - Hyōshiawazu (拍子不合)
for electronic music 
Instrumentation: electronic music
Premiere: Mars 16, 2013 – @ Saravah in Tokyo
Duration: 6′ 13″

Program note:
The whole underlying structure of this piece is drawn from various features found in Japanese Nō Theatre. There are three types of tempo in Nō (Hiranori, Chūnori and Ōnori) which is articulated by the tripartite structure of this piece, all having its own pace. These three parts are (approximately) divided in the proportions 4733 and 6647 which makes: A = 169 seconds, B = 119 seconds, C = 84,6 seconds.

On the more poetic side the piece is a sort of comment to an imagined Nō play drawing its form, intervals and rhythmic patterns from the Nō piece “Chū no mai” which, as it were, is acting like a sort of “cantus firmus” but only revealing itself the very last seconds.
Material used: Chū no mai (trad. Nō), recordings (wine glasses, scraping on string, knocking on wood), sound synthesis and recordings of works by H. Denerin (Alcheringa, Le theatre du temps, Rotations-Shadows).

Tools used in composition process: Max/MSP 6 (granulation, synthesis, stochastic sound mass, sound freeze and more, all programmed by H. Denerin), IannisX (fractal walk), Ircam’s SPAT (spatialization), Cubase (mixing).

Chart of formal outline with listing of sonic entities of the 21 layers in part 1:


WORK No.18



electronic music 
Instrumentation: electronic music (for 8 speakers)(mix for 5.1 and a stereomix exists)
Premiere: 2009-03-23; Malmö Acadamy of Music, Sweden
Duration: 21′ 41″

Program note:
ROTATIONS – The piece consists of 48 different voices whish all has its own shape, range, dynamic envelope, sound composition, tempo and rhythm. Every one of these voices rotates at different speeds around the room; the slowest taking 21 minutes for one rotation, the fastest 0.5 seconds. An unbelievable room-polyphony is created. Obviously not all 48 voices are heard all the time, but in the most dense part, at 15 minutes, they all come together.

SHADOWS – “As the ideas are the principal forms of things, according to which all is formed … so we should form in us the shadows of ideas … so that they may be adaptable to all possible formations. We form them in us, as in the revolution of wheels. If you know any other way, try it.” (Giordano Bruno: Shadows (De umbris idearum))

The different voices in ROTATIONS-SHADOWS where all created from one original melody with the use of IRCAM open music, mainly with different scale objects applied both vertically and horizontally. The sounds where created with Csound and the spatializing with IRCAM Spatialisateur.

Under Heaven is a cycle consisting of 7 parts, each for different kinds of ensembles. They are all composed of the same material and using similar ways of forming. This, however, does not mean that they don’t have a personality but only belong to different cultures – different ways of growing.

Recording excerpt: