N.B. SoundCloud’s transcoding process hasn’t been particularly kind to some of the pieces (especially the ones with a lot of activity at the highest end, like Failing to reproduce appearances and Nocturnal Debris). I recommend you to click the “dowload”-link for the lossless flac.

Hermit’s dream of mountain ash (2014)

how many men
are growing old in this wind?

Failing to reproduce appearances (2012)

Original piece is 5.0, this is a stereo reduction. Email me if you want to hear the original multichannel version and I’ll send you the files.
Program notes: How can a work of art feel both incomprehensible and meaningful at the same time? Questions such as this have concerned me in my current preoccupation with trying to create poetry with subtle, enigmatic rhetoric. For my aims to materialise the work cannot fold on itself with a full intelligibility and conclusiveness, but at the same time a different kind of clarity and coherence is needed. My previous compositional tendencies of creating cinema for the ear and formal clarity nevertheless restrained the level of enigmaticism attained. Did they hold the poetry back? Something has taken shape that balances between dichotomies.

Still Air (2012)

Still Air is a mixed piece for 15 musicians (fl, ob, cl, bsn, hn, tpt, tb, 2 x perc, pno, vn, va, vc, cb, elec). The piece consists of 10 quiet and relatively static sound environments, between which there are areas of silence and brief percussive punctuations.  The sounding sections are thought of as silence made audible – as if room tones, ventilation hums and distant buzzes of electricity had been subtly amplified. This version has been performed by the BCMG.

Nocturnal Debris (2012)

My main concerns with Nocturnal Debris were atmosphere and pacing. I was attempting to create a subtle and sensitive rhythm that, combined with the materials and their development, creates a gentle, impressionistic mood. The piece strives to be inconspicuous and enigmatic, but with a sense of meaningfulness that leaves something lingering in the air after it’s gone.

A Homage to Anton Webern (2011)

Anton Webern’s early pieces embody a certain laconic expression that has intrigued me. Even though they seem like moment forms consisting of disconnected, causally vague instants, they manage to create an enigmatic coherence, a microcosm. Restrained brevity and soft dynamics create an impression of a subtly observant poem – perhaps a haiku. All of these were features I set out to work with in my homage. The piece is intended to eventually be part of a suite exploring the theme.

Torque (2010)

When composing Torque I wanted to work with the lightness and speed of an abstract expressionist painter – throwing paint on the canvas, generating ideas on the fly, painting over previous ideas, maintaining a primitive intuition and avoiding over-craft. The starting point for the piece was generating a handful of free improvisations in a granular synthesis environment I had built in Max/MSP (Malegra). I then started to compose with these improvisations in a spontaneous way, encouraging happy accidents juxtaposing unrelated materials in unassuming ways. Frequently I zoomed in on the internal happenings of one layer of material and allowed them to run their natural course while crafting the other layers to follow their logic. Hence the material develops and a form ensues in an unpredictable but organic way.

Outspread (2010)

Outspread sets out to explore two continuums during its course: the continuum from pitch to noise and the reality-abstraction –continuum. In the piece pitch is a subset of timbre and pitched material is used simply as one timbre among others – by making the chords static, discourse based on pitches or harmonies is not formed, but the pitches serve as a timbral counterweight to sharper granular material. The reality-abstraction –continuum is explored by juxtaposing and mediating between situations of different apparent realism. The material evolves from immersive real situations to entirely abstract sound masses and vice versa, with wave-like swells frequently acting as catalysts. However, more than a technical discourse, the piece attempts to provide an impressionistic voyage.

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