Site-specific pieces

I have always been fascinated by sound
and, perhaps without knowing it, by sonic phenomena. I discovered sonic interference as a youngster when I found it fun to sing along with the sound of a vacuum cleaner, and, by choosing a pitch slightly above or below it, “feel” how the tone met resistance. Different sonic phenomena are something I investigate in my site-specific pieces. I also aim for the composition to be the room: be fully integrated with it and express its essential character; the room should manifest itself in the music. The compositions are dependent on the particular space for their authentic soundscape, which is generated through a unique interplay that gives an extra dimension and level of expression, and which can only be found there, in that setting.

Comissioned works

My music is often playful and performative, and wonders about small or big things in life – seeking to be asking questions rather than giving answers.

What is sound? What is noise? Is sound noise?

Vocalist & improviser

As a vocalist, improviser and musician, I perform my own music or others. Sound is my main interest in making music and sound, having imitating everyone and everything around me since I was a little child. The quality of different sounds interests me, how they sound and how I best can imitate them, with my voice or an instrument – or a combination – acoustic or together with live electronics. I’m a performer of sound based music, improvised music, contemporary music and electro acoustic music.

Sound for silent film

I work with sound for silent films, mainly in live format by playing concerts to different silent films.

Live foley

Together with silent film pianist Kjetil Schjander Luhr, I do live foley for silent films. With a wide range of music instruments, toys, kitchen and office equipment, I do foley, sound effects, mickey mousing and ambience sounds live to silent films. Explosions or footsteps, thundering, penguins, snowy landscape, or someone falling; I try to find a sound that fits together with it. Doing it live makes timing even more important than the sound itself, and the fact of only having two hands influence what sounds I choose to play out in the film.

Live music

As a performer I also play more “ordinary” concerts to silent films. Following the film with music by letting different moods or atmospheres colour the narrative or making important characters in the movie have their own theme or ide fix. Mainly with vocal and live electronics I make music that unfolds together with the film as it goes along, sometimes giving hints on what to come, but with the idea of enrichening the audience’s experience of the film.