Nikka is one of the main personalities on the expansive electronic music scene in Barcelona.
With a background in biochemistry she draws inspiration from the microscopic cosmos, which is part of our everyday reality of life and death. For Nikka, it’s natural to live a life among machines: she plays and experiments with them at great ease. Out comes a dark, complex mix of sounds, rhythms and feelings, personal and strongly melancholic. Here, in The Space in between, she works on stage with Alba G. Corral.
Alba G. Corral is an artist living in Barcelona. She works with visual code using real-time programming to create digital landscapes. Also she creates generative art, live cinema and has played at Sonar 2009, Primavera Sound, Miscelánea, Femelek, Festival Baff 2008, Zentraus, lesFatales, Fellini, Mostra Sonora Visual, CaixaForum, Inside Festival, Niu… She regularly works with fellow musicians such as Arbol or Nikka on the current electronic scene.
:: cárgame en tu imaginación:: http://www.albagcorral.com
Their audiovisual set, sensitive, and full of pandemic expression, with the generative power of abstract art and the strong personality of melancholic sound, will be based on the new Nikka album: PANDEMIA released on Discontinu label (Girona), an album based on low frequencies and on the destruction of the sensorial emotions of form.
Cellist Anton Lukoszevieze, based in the UK, is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton Lukoszevieze is founder and director of Apartment House and a member of Zeitkratzer.
Anton will be performing a piece by Zbigniew Karkowski for amplified cello and computer commissioned by Sound and Music-London and EMS - Stockholm.
Zbigniew Karkowski was born in Poland and studied composition and musicology at the Göteborg Academy of Music and Drama and also computer music at Chalmers, Göteborg. He has also studied with Iannis Xenakis , Olivier Messiaen, Pierre Boulez and Georges Asperghis. He has been working actively as a composer of both acoustic and electroacoustic music, having written pieces for large orchestra as well as founded an electroacoustic performance group ”Sensorband”. He lives in Tokyo. Anton Lukoszevieze will perform a new piece composed by Zbigniew - for amplified cello and computer, commissioned by Sound and Music-London and EMS - Stockholm.
Erik Drescher is based in Berlin. He studied the flute with Carin Levine and Hans Jörg Wegner a the Hochschule für Musik Detmold. Masterclasses with Robert Aitken, Roberto Fabbriciani und Auréle Nicolet a.o. He has participated several times at the International Summer Courses of Contemporary Music Darmstadt. He gives concerts as a soloist and an ensemble player and is a household name on the contemporary scene in Germany and internationally working with composers of from all horizons. Erik Drescher will be performing Rainbirds by Hanna Hartman and Gedeckt by Ivo Nilsson. He will also be improvising in a quartet, Vier, together with Mats Lindström, Ivo Nilsson and Wenke Schladitz.
Wenke Schladitz, based in Berlin works in 2D, 3D, real and virtual spaces / spatial installation, video installation, live performance and staging situations / video projections to new music compositions and improvised music in collaboration with composers and musicians. She is the initiator and curator of an electronic church in Berlin - a venue for experimental music and sound art and co-founder of schladitz & skupin berlin - an architecture and design network focused on the conservation of material and the cultural aspects of design, production and performance.
Wenke’s video projections are often mesmerizing and astounding. Discreetly and seemingly by chance, they describe everyday phenomena, such as a removal van being gradually emptied of its contents or cranes on a heap of rubble and ruins, in a moving, amusing and poetic way. At the Norberg festival, she will be performing together with Erik Drescher in a piece by Ivo Nilsson, “Gedeckt” and in an improvisation, “Vier”, with Mats Lindström, Erik Drescher and Ivo Nilsson.
Having developed her very own language, the Swedish sound artist and composer Hanna Hartman creates compositions that are exclusively made up from authentic sounds, which she has recorded around the world. Sounds are taken out of their original context and thus perceived in their purity. Hanna Hartman seeks to reveal hidden correspondences between the most diverse auditive impressions and in new constellations she creates extraordinary worlds of sound. She has created several electroacoustic music pieces (e.g. Att fälla grova träd är förknippat med risker, Die Schrauben die die Welt zusammenhalten). Her many awards and grants include Prix Europa (1998), the Karl-Sczuka-Preis (2005), the Phonurgia Nova Prize (2006), and a Villa Aurora grant (2010). During 2007 and 2008 she was Composer-in-Residence for Swedish Radio. Hanna lives in Berlin.
In Norberg, Erik Drescher will be performing her Rainbirds (2010) for flute and sprinklers. Hanna will be performing ”dich tholen” and a new piece called ”Washer No. 3”.
Helena Gough is an English sound artist based in Berlin. Her work initially focused upon the collection and manipulation of 'real-world' sound material and the exploration of its abstract properties. Occasional deviations into synthetic and instrumental sources are now developing into more prominent ingredients. Each new sound-space is created by taking everything possible from the tiniest element, working to make something from nearly nothing. This reduction in means yields a density and richness of results.
Initially trained in violin and composition at the Royal Academy of Music, Junior Academy, Helena went on to complete a BMus at Birmingham University. As a solo (laptop) player she is now presenting her music live on a regular basis, and is also a member of numerous improvising electro-acoustic ensembles involving musicians such as Lee Patterson, Andrea Neumann and Rhodri Davies. Her live sets are intended for dark spaces and involve multi-layering and improvisation with her sound materials in order to create a unique environment for each new performance. Studio collaborations are currently underway with Dutch composer Esther Venrooy and Swiss sound artist Zimoun.
Ivo Nilsson, trombone, made his debut as a soloist with the Swedish Radio Symphony Orchestra in 1989, after studies at the Royal College of Music in Stockholm and at IRCAM in Paris. The same year he also made his debut as a composer with an octet premiered by ensemble l’Itinéraire at Radio France. He is a member of the ensembles Axelsson & Nilsson-duo, Ensemble Son and KammarensembleN. As a soloist and with the above-mentioned ensembles he has given performances at festivals like Beyond 440 Hz (Los Angeles), Chicago Jazz festival, Gaudeamus Music Days (Amsterdam), Huddersfield Contemporary Music festival, Inventionen (Berlin), Ilhom (Tashkent), Musica (Strasbourg), Roaring Hoofs (Mongolia), 2 Days and 2 Nights (Odessa), Sonorities (Belfast), Spazio Musica (Cagliari), Spectra (Tirana), Time of music (Viitasaari), Ultima (Oslo), Warsaw Autumn and the World Music Days (Hong Kong, Stockholm and Zagreb). He is a recording artist on the labels Alice, Caprice, dbp, Phono Suecia, SFZ & Wergo. Here are two programme notes:
The flute is a tube. Or a tunnel. You can fill it with sound. Or with light.
You can let the sound out. Or the light in. It is built to connect. Gedeckt was written for Erik Drescher on commission from EMS studio / Swedish Concerts. The sounds on the tape part are from the Düben organ in the German Church in Stockholm. The piece is dedicated to all tunnel diggers."
ROTOR ZERO (1999)
“rotor zero” was the point of departure in a series of works based on rotation. It was inspired by the “rotorelief” prints by Marcel Duchamps:
12 graphical spirals in the size of gramophone records supposed to be “played” on your home stereo. These hypnotical mobiles suggest contemplation and have descriptive titles such as “eclipse totale”, “spirale blanche”and “poisson japonaise” My spontanous reaction when I saw them for the first time was: What would they sound like? Their oval, unequal and distorted visual movements in time maybe could find its equivalents in limp asymmetrical rhythms and warped microtones? My first attempt was “rotor zero” and the rest of the series consists of “root” for percussion solo, “rotor II” for trombone and percussion and “rotorelief” for ensemble and speaker."
2011 marks 30 years of Lustmord!A rare opportunity to experience the Lustmord sound as it's supposed to be heard, at realistic volume levels and with low frequencies intact.
He will perform a set that will include elements of his recorded work of the last 25 years as well as new material, which will be accompanied by high definition video footage created specifically for Lustmord live.
As a result of Lustmord's performance, those of a nervous disposition are advised to keep away from the Norberg area at a distance of at least 25km. It is expected that there will be a rise in the number of reports of unexplained births in the neighboring farm communities, women may faint, children will be unnaturally nervous and that grown men shall weep.
You have ben warned.
2011 marks 30 years of Lustmord. Over these years there have been very few live performances:
Three gigs in the UK in 1981.
One in Los Angeles in 2006 .
Two in Europe in 2010 (Krakow & Berlin)
And now a few select shows in 2011, of which Norberg will be the third.
LUSTMORD is the legendary Dark Ambient composer and also a sound designer for films like The Crow, Insider, From Dusk till Dawn… Some of you may have had the opportunity of listening to him talk about his work at Audiorama, on January 14 2011, and play at Södra Teatern during Art’s Birthday on 15 January 2011.
Mats Lindström works as a composer and a musician, often with strains of live-electronics. He often works with intermedia, scenic elements and visual arts as a complement to the music, and has worked both with music for theatre, radio and dance. Formerly an engineer in the electronics industry Lindström has designed and constructed a number of unique electronic musical instruments and apparatuses. Since 2004 he is the artistic director of EMS, Elektronmusikstudion in Sweden. At Norberg, he will be performing with Ivo Nilsson, Erik Drescher and Wenke Schladitz in ”Vier” – a live improvisation.
is a collaboration between Camilla Sørensen and Greta Christensen who met at The Royal Art Academy in Copenhagen in 2001 and who have been working together since with sound as a starting point for a continuous and complex sculptural practice which includes: cars, tent constructions, campers and a huge variety of record players and sound equipment. In the concert situation, a partly improvised narrative of sounds is performed using exclusively modified turntables and vinyl records. Cut up and mistreated records looping and creaking from dust and sloppy treatment. Pick-ups being pushed disrespectfully over grooves. Records spinning backwards and forwards while played from multiple pick-ups simultaneously. Repetitive arrangements, dark sounds, neck breaking mixes, film-amateur sound effects, scratches, squeeks, vinyls, terror and horror.