electroacoustic pieces


Is The Mic On? (2018)

A live  recording from the venue Fylkingen, Stockholm. It consists of delay and feedback chains through a mixer.


sound memory (2017)

Players: 2–6 persons
Instructions: In this room sounds are hidden. Two of each kind. Together they form a pair. There is a total of 16 sound pairs. Let the listening begin!
Duration: 5 – 20 min.

An interactive sound piece written on commission for Audiorama as a part of their Compoz project.
Unfortunetaly there’s no sound/video documentatioin from this one.

photo: Bodil bolstad

Premiere for Sol Andersson’s and David Granström’s new works for the sound art installation Compoz and the release event for ”Compoz – det ljudande rummet” – the first book published by Audiorama förlag!
















The Kitchen Sessions: 4AM (2016)

‘Pierre Menard did not want to compose another Quixote, which surely is easy enough – he wanted to compose the Quixote.’
(Borges, “Pierre Menard, Author of the Quixote”)

The initial question – What is my kitchen’s being and is it possible for me to detect and understand it and also even somehow capture it?
Thinking about this and using time, space & memory as gateways into some sort of understanding about the kitchen’s being, but also as tools to interpret and transform the mindexperiment into a musical composition.
 Originally mixed in B-format and played in 17.4 speakers + 1 mono speaker at Audiorama (Stockholm). 

For the curious swedish reader: the-kitchen-sessions-4am-sol-andersson


monolog: In Memoriam (2013)

The piece reconstructs a fathers haunted elusive thoughts and memories about having a child and how to survive the death of your own child. It is based on an interview made early in 2013. Originally mixed in B-format and played in 17.4 speakers + 1 mono speaker at Audiorama (Stockholm). 


Fitta – 350 år senare (2012)

An 8 channel electroacoustic installation piece.

The piece reconnoiters the use of the word Fitta (pussy) and tries to understand the swedes ambivalent relation of how, when and why we use it. The subtitle – 350 years later refers to when the word first occured in swedish writings and makes you wonder if anything at all has changed since. It is clearly a word with many meanings and something that makes most of us feel ashamed of in one way or another from time to time.


1000 meter frustration (2011)

Originally mixed in B-format and played in 17.4 speakers at Audiorama (Stockholm) during the Sound of Stockholm festival 2011.


Silence – a pre-study (2010)

Silence – a pre-study , is based on interviews made during fall 2010 with 5 people living with varied degrees of deafblindness. Music and sounds are a ways to communicate, but what is it like not to be able to fully be part of that? This piece tries to identify the nature of different levels of sight- and hearingloss, to a fully sighted and hearing person.

Deafblindness is the condition of little or no useful sight and little or no useful hearing. Deafblind people have an experience quite distinct from people who are only deaf or only blind. A blind person can learn to compensate with hearing, so e. g. the person is still able to move more freely.

This work sums up what we talked about during the interviews. About different kinds of memories. Does a musical memory exist? Have you ever heard anything? What kind of sounds are your favourite sounds and have you ever played an instrument? How about the high-pitched sounds such as bells, alarms, whistles etc? It turned out most, if not all, had a very hard time dealing with theese types of sounds. Even though the 1950s was a golden era for hearing aid it had a lot of defects and some thought it easier to live without it.

note: Hearing aids are incapable of truly correcting a hearing loss; they are an aid to make sounds more accessible.
Many thanks to

Förbundet Sveriges Dövblinda


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