What comes out of my sampler when I try to mix musical
and nonmusical sounds to beats? What happens if I try to make
tekkhnå from the sound of a wet finger squeezing
against a bathtub, knockings at a metal ladder, when my children and my
A combination of free sounds and dance music, to get the matter of sound
to groove. Made by computer sequencer, sampler and synthesizer module,
between 1996-98. The only way to really listen this music is to order
a homebrewed CD, 15 $. Mail to mera(at)comhem.se
Three short excerpts. Real Player G2 -files (if you don't have
RealPlayer there is a link to get it at the page you come to when you
click these links):
sound-music-collage-tape (finished 1993, in 5 parts approx. 1 hour long)
was about gathering sounds from the life of the city, throw them into
the oven, and to make a soundbread which is the intensity of the city,
it's noise, it's explosive dynamics, sometimes brutal, sometimes too much,
to make music by garbage of sound, recycling sound trash. I created a
sounding heap of garbage, with rooms and passages, instead of throwing
There is also instruments heard: tenor saxophone, electric
guitar, synthesizer, electric violin, drums, voice. Made by an 8-channel
analog home studio, series of mixings, overlaps and reuse
(sometimes more then 32 channels at the same time).
A stream of sounding "pictures" are treated by the
tools of machines, to be something more and something else, something
that is discovered or rooms that is just happening, something
new that is not attached to a representation, a fiction. And
your picture of what you hear is some kind of continuation,
but with your focus, feelings, visions and notions, of the same sounding
mass or matter, which, through changing with you, turns to
Contact me if you want to get a
homebrewed CD, 15 $. Mail to mera(at)comhem.se
March 1997: The choreographer Cristina Caprioli uses 37 min., parts
1, 2 & 3, in her dance performance L'Onda
- The Labyrinth of Listening at the House of Dance in Stockholm.
December 1996: She uses the same parts 1, 2 & 3 in her
dance performance The Reading of a Wave - The
Privilege of the Eye at the Blue Box, Dansens Hus, Stockholm,
in company of music by Luigi Nono, Einstürzende Neubauten, Nine Inch
Nails, bang on a can.
Three short excerpts. Real Player G2 -files:
DRONE. For you who like to
listen to what´s happening in "monotonies". Four
drones, two from 1967, one from 1997 and one from the day before
yesterday 2001. Before I've heard about La Monte Young and Terry
Riley, who specialized on exploring "the monotonous",
Indian music had made a very deep impression. There the tanpoura
is weaving a twisting sonourous ringing with ever changings of the
same four tones. I was sitting in the night at home playing the
piano in a similar way, listening the overtones appearing and disappearing.
Another night I recorded Mecki's Hammond at The Swedish Radio. The
first two drones are made by "sound-on-sound" (you mix
a "overdub" in the tracks already recorded, not at a track
beside and mix later) on a regular home tape recorder. Ulla was
helping to sing. In the computer I have tried to clean the old recordings,
so they sound quite beautiful. I don´t have to say anything
on he two later drones just listen.
For going deep and meditation keep the ears and the mind
awaken and open.
Order in the same
way as the other records. 15 $. Mail to mera(at)comhem.se
1984, Silence Records. I lived for ten years 1972-1982 at the island Gotland
in the Baltic Sea together with my wife at that time, Kära,
in her house (visit her home page Channa
Bankier and look at her computer art). I recorded the sounds of the
surroundings, the soundcape of winds and birds and leaves, played flute
with the birds in the forest and played on the ordinary things and tools
around, like wheelbarrow, metal tub with water, wooden garden chair, a
dead pine-stem, the circular sawblade of a firewood cutter, kerosene tank,
buckets and pans etc. etc.
Together with Anders Lind at the Silence Records studio
in the forest of Värmland a collage was created. I guess this is
one of the early albums of musique concrete, ambient,
soundplay, earplay, soundmovie in
Sweden (if you never have heard of the text-sound exercises
of Fylkingen or Spirits of Ecstasy/The Way to Nepal by Åke
Hodell and such records of course, which mostly are constructed by language
and sounds of voice).
This record was nominated to the contest of the Swedish Phonogram
Price 1984. No longer available as a record.
Contact me if you want to get a
homebrewed CD, 15 $. Mail to mera(at)comhem.se
1974, Silence Records. Songs in Swedish, acoustic instruments, written
after the 5 years being a drummer in a very loud and exited electric
agitation, rejoice-, right on and revolutionary shamanistic music group
like Pärson Sound/International Harvester/Träd, Gräs
There was so many words that was not sung, on my part, so
I had to write some songs. Both sorrowful and happy. The friends Roland
Keijser, Torsten Eckerman, Nicke Ström, Torbjörn Abelli, Thomas
Lundqvist, Bosse Skoglund, Bengt Berger, Anita Livstrand, Jakob Sjöholm,
Sten Wallin, and Kära of course, play together with
my voice and acoustic guitar, violin, african drum, cither and other
sounds. Only one electric tune where I try to play the electric guitar.
Not available as a record any longer, but you can get a
copy of the vinyl, with some crackle and pop, as a homebrewed CD.
If you want to hear it, contact me.
Mail to mera(at)comhem.se
1984 I got the honor to make music for William Shakespeare's Hamlet. A television movie version directed by Ragnar Lyth. Earlier I'd made music for one of Agneta Fagerström-Olson's films, "I Get Up in the Morning Along With the Giraffes" about Channa Bankier, and sound works for Agneta's and her partner John Olson's movie "Hårga". John Olson was the cinematographer of the Hamlet project. That's how it was, though him I got this job.
I got a bank loan with help of my father to buy a 8-track analog tape machine and mixing board and a 2-channel Revox as master. Then I recorded track after track with the music instruments i could use, in the rehearsing place of the musician collective Ett Minne för Livet (A Lifetime Memory). Others who brought their musicianship were Constantin Carlestam, Mattias Helldén, Anita Livstrand, Eva Lagerhjelm, Håkan Möller and Jörgen Adolfsson.
The film were shown in two parts at different nights in Swedish Public Television January 1985. It started such a hullabaloo in the papers on "how to play Hamlet" that the channel had to show the movies again at extra time a week later.
This home brew release is remixed and re-mastered 2004. Here is the best music, and mostly in its full length.
Director Ragnar Lyth. Translation Jan Mark.
Stellan Skarsgård Hamlet, Pernilla August (as Wahlgren) Ophelia, Frej Lindqvist Claudius, Mona Malm Gertrude, Sven Lindberg Polonius, Tomas Bolme Rosencrantz, Johannes Brost Gyldenstern, Per Eggers Oratio, Dan Ekborg Laertes. Cinematography by John Olsson. Film Editing by Lasse Lundberg.
Parts of two tracks: Horns and Flutes .mp3 Ophelia dead .mp3
If you want to hear the whole record, home brewed CD-R, send a e-mail to mera(at)comhem.se.
FINODASVIS - Concert for moving audience. April - may 1990. A composition consisting of eleven 22 minutes long soundscapes for a large architecture exhibition, NordForm 90, in the harbor of the city Malmö. Idea by Bengt Carling, co-composer Tuomo Haapala. These 11 tapes were placed inside 19 six meters high sounding towers along the waterline, played by reversing car tape machines all day and night long. Composed after the concepts of Tree, Water, Air, Wind, Metal, Ice etc.
Perhaps I will make a selection on ONE cd someday.
MUSIC FOR THEATRE:
1998: Konsten att begrava en kärring/The
Art of Burying an Old Hag by Mikael Niemi at Upsala
Stadsteater. Director Edward Buffalo Bromberg.
1990: 2 parallel running sound/music tapes for Bruden
och fjärilsfångaren/The Bride and The Butterfly Catcher
by the Isreaeli poet Nissim Aloni, translated and directed by
Yael Feiler, my wife nowadays. Teater 9. Den Andra Teatern/The
Second Theatre, Stockholm.
1989: (SJ)ÖNÖD (the titel
impossible to translate , something like distress at sea, distress at
island), children play, Pantomimteatern, Stockholm.
1988: Den Gula Tapeten/The Yellow Wallpaper
by Charlotte Perkins Gilman. Directed by Yael Feiler at
Moderna Dansteatern and Pistolteatern, Stockholm.
1988: Maratondansen/They Shot Horses Don't
They by Horace McCoy/Ray Herman. Nya Mimensemblen/The
New Mime Ensamble. Director Lena Stefenson. Plaza, Stockholm.
Approx. 2 hour music.
1988: Askungens våta dröm/The
Wet Dream of Cinderella.
Written and directed by Yael Feiler. Pistolteatern.
MUSIK FOR FILMS:
1998: I den gröngrå zonen/In the
Green Gray Zone, by Maja Lindström, short movie.
1984: Hamlet by Shakespear.
Directed by Ragnar Lyth. 2 hour film for Swedish public television
TV 2. Was also acting as one of the musicians in the "actor group".
1984: Hårga by Agneta
Fagerström och John Olsson. Television and movie theatres.
1981: Jag går upp med girafferna på
morgonen/Along With The Giraffes I Get Up In The Morning by
Agneta Fagerström. Film for televison about the artist
TELEVISION (except shows with the music groups):
1974: Månens drömmar/The
Dreams of The Moon.
Playing, acting, singing together with Susanne Valentin (choreography
and dance), Channa Bankier (painting, colour and acting) och
Rolf Strindberg. 5 programs for children for public TV 1.
1973: Se med örona - hör med ögona/Look
With The Ears - Hear With The Eyes. 5 programs for children
for public TV 1 together with Susanne Valentin, Channa Bankier
och Maarten Blomkvist (light art).
of Leaves. Art
and poems by Cilla Ericsson. Light show/programming by Peter
Tucker. Sound-music tape, and live music together with Anita
Kilen /Kulturhuset, Stockholm.
1981 - 84: Sound-music specialy for radio. Nattövning/Night
Execise by Ingela Lind and Stefan Johansson
1981, in P. Meyers Nattövning
1982, also in his sound exhibition at Moderna Museet/The Museum of Modern
Art 1983, in Lennart Wretlind's Safari
And some more here and there.