When composing Huden […], I tried to approach the drum with a focus on being in touch with the instrument. Viewing it as skin rather than just an instrument; imagining a way of being with the instrument that emphasises intimacy: the body and its movements. It is an inward piece that deals with grief, love and violence – existing at the borders between music, choreography and theatre. ”In one another we will never be lacking.” Helene Cixous – The Laugh of Medusa.

The piece is written for any instrument, or combination of instruments. All instruments interpret thescore, playing together all at once. Overlay instruments or decide on an ”orchestration” of the score (or both). No pitch or register is prescribed but is instead left to the performers discretion. The sound world of Åter, nära is that of noise. Pitches are present but never stable or clear, but rather distorted, interfering, always fluttering or changing. Noise is the ground on which pitches can appear. The character of the piece is very focused and intimate. Performers are invited to be placed facing towards each other during a performance: emphasising the intimate nature of the piece.

Du – Framkallad is a piece for solo Bb Clarinet written during the fall of 2023 for Emil Nilsson.

The composition was a way of searching for the essence of the instrument. In a sense, searching for its essence through my subjective lens. That essence consists of  stuttering, attempts to form speech, the sound of air through the instrument, and occasionally also clear pitches.

The piece couldn’t exist without my experience of playing with and listening to Emil Nilsson and his way of approaching the instrument.

il is a piece for String trio written during the spring/summer of 2023, for ensemble Mosaik.
I began by detuning a string, experimenting with the distorted and noisy sound color created by the scordatura.

Using these low, rattling sounds and very high, whistling sounds I tried to create an intense listening experience: of silence, stillness, and sudden activity. I imagine sound as a continual low of energy, only with this piece, the energy is constantly interrupted and distorted.

The end of the piece functions as a blockade wherein most sounds are played as high as possible. I imagine it as an energetic, almost frenetic standstill in which the instruments are trapped in their highest register.

Written during spring of 2023 for ensemble hand werk.
It was made by deconstructing and reassembling a previous piece of mine: Lystra/Stilla
Lys consists of continually changing, fleeting and fluttering sounds – I imagine them as a continual flow of energy.
This energy is contrasted by sudden, loud, percussive sounds. They mark points from which sounds enter or die out,
or where their flow of energy is realigned. Sometimes these points freeze the flow of time, or make it rush furiously forward.

Randen is a piece written during 2022/2023 for the percussionist Daniel Alin.
Using only a timpani and a singing bowl, I attempted to broaden the limits of possible sounds using the instruments.
Complex and dense passages work as ”sound complexes” that recur repeatedly during the piece. I imagine these passages as a way of looking at an object from different angles,
seeing something familiar but never the whole of it – parts are obscured and hidden from sight – nevertheless we keep returning to it.
Separating these sound complexes are silences, long sounds, or elaborations stretched out from within: as if zooming in to the object and seeing new paths and structures. Or simply: seeing nothing.