Pär Lindgren — Elektrisk Musik (1978)
John McCowen — Dealing with Models of Duration
Jessica Ekomane — Manifolds
Philip Carson — Turmac (1961)
Amina Hocine — X3
Kevin Drumm — Barrage
Amine Hocine commission made possible with support from Kulturrådet.
Note: due to travel complications, Kevin Drumm was not able to attend the festival in person. His piece 'Barrage' was presented on his behalf by John Chantler.
edition vii grm is a collaboration with INA GRM and presented on the occasion of the 60th anniversary of Elektronmusikstudion EMS. Made possible with support from Kulturrådet (The Swedish Arts Council), Region Stockholm, Stockholm City, Nordic Culture Fund and Goethe–Institut Schweden.
Amina Hocine is a composer, sound artist and instrument creator from Sweden currently pursuing her masters in electro acoustic composition at the Royal College of Music in Stockholm. Her current work is centered around an instrument she has created, called The foghorn organ or The instrument. It’s a compressed air driven organ, built by PVC pipes and various HVAC bits, inspired by the sound of foghorns. Her compositions revolve around timbre, deep listening and narrative, and she draws inspiration from the spiritual sciences.
aminahocine.com
Kevin Drumm (born 1970) is an experimental musician based in Chicago, United States.
Jessica Ekomane is a French-born, Berlin-based electronic musician who focuses on live performances and installations. Her performances are characterized by their physical effect, exploring psychoacoustics, rhythmic structures, and the interplay of noise and melody. Her work is focused on the relationship between individual perception, collective dynamics, and societal listening expectations.
John McCowen’s musical life has become an obsession with discovering a polyphonic language on a historically monophonic instrument – the clarinet. This has led him to a unique acoustic vocabulary that is similar to a shifting soundscape of electronic feedback.
John’s multiphonic approach is based in drones, difference tones, and beating harmonics as a means to showcase the compositional potential within a single, acoustic sound source.
Praised by The New Yorker and The Wire, he transitioned from playing in the American DIY circuit to pursuing classical clarinet pedagogy with contemporary clarinet pioneer, Eric P. Mandat, now teaching improvisation in Reykjavík. John remains stubbornly dedicated to acoustic phenomena. His works do not utilize amplifier feedback or electronically-generated sounds unless specified.