Artists:
Heidi Mortenson
In the beginning Heidi was experimenting with recording herself singing inside a washing machine, rebuilding a telephone receiver into a microphone, hooking up with a walkie-talkie system and more.
Heidi makes colorful and textured songs with a nerdy and charming approach; the songs travel through sound experiments and visit seriousness vs. self-irony in a twisted pop production. Add some emotional overdrive with a mentalist flavor and a radiating energy.
Mortenson is a channel of hope for the future of borderless music. She is a self offered psychological warrior utilizing the weapon of musical free will. Sultry, silly, soulful, playful, gender-bending, pop experimentalist Heidi Mortenson is all this and more.
www.myspace.com/heidimortenson
Jonas Olesen
Work and live in Denmark. Background as a techno-producer, radio-DJ and concert-organizer. Plays in the duo OPEC with Christian Stadsgaard, and fomerly in the band Europussy with Aasmund Kverneland, Bjørn Svin and Karsten Pflum.
He has already performed with Carlos Giffoni, Christian Marclay, ErikM, Lights People and others. Started working with reel to reels at an early age. Now does audio-installations and media-specific investigations.
Karsten Pflum
Karsten Pflum’s work can best be described through his playful and anarchistic approach to making music. The influences and inspiration that he found in 80’s synth pop, Detroit techno and Nordic folk-music can clearly be traced in his digitally abstract but warmly grooving music. The methodologically as well as conceptually eclectic way of composing results in a warm harmonic atmosphere that has an ever present melancholy.
Karsten Pflums has toured in Scandinavia, Germany, UK and Spain, both solo and in different constellations with Bjørn Svin and Monolog among others. Since the year 2000 Karsten Pflum has been playing gigs at festivals like Ekko (Norway), Roskilde (Denmark), Norberg (Sweden), SPOT (Denmark), Forma Nova (Denmark), Jazz Juice (Denmark), Public Service (Denmark), Radar (Denmark).
Morten Riis
Morten Riis’s music can be characterized as an electronic music that fuses elements of sound art with a more acousmatic and electro-acoustic approach.
Lately his artistic work has focused around the investigation of the myriad of errors that can arise when working with analogue and digital systems.
Common for all of Morten Riis’s artistic endeavours is a fascination of working on the limits of what is technologically possible when finding new sound material. Pushing computers to their limits to obtain an aesthetic that emphasizes the imperfections of modern technology.
Yet perhaps the sound of a computer crashing is not an expression of error, but rather an expression of an intangible beauty. From these digital short co- mings a sound universe is created that might be defined as a modern day music concrete, that utilizes the sounds that are a part of our modern everyday lives. They are not physical objects but are very concrete in our daily interaction with technology, and in that sense perhaps a more concrete sound statement for our generation than the sound of a rumbling train.
PUZZLEWEASEL
Fueled by years of dance floor attendance at raves and jungle/ dnb venues the puzzleweasel started sculpting away at his intricate take on beat programming in 2000. Quickly getting recognition for his uncompromising sound and overwhelming presence on stage, he has since released on heavy weight labels such as Tigerbeat6 and Sublight records. Always pushing the boundaries of rhythm and sonic possibilities, puzzleweasel’s compositions are dense storms of complex brain wave manipulating wonderment. Fusing IDM, breakcore and all things experimental, leaving your synapses tingling and ancles wrecked.
Vectral
Vectral, aka Søren Lyngsø Knudsen born 1983 in Århus, Denmark works intensively in the fields of digital music and graphics.
As a 5 year old, he had his first violin lessons, and since that time, he has worked with virtually any form of music production. Including composing music for live musicians, motion pictures and computer-games, and also more practical approaches as recording, mixing and mastering for different artists and bands.
With this broad knowledge and interest in music production as a backdrop, his own electronic compositions focuses on experiments in psycho-acoustics, complex rhythm structures and organic, sometimes melodic, textures.
As a visual artist, Søren pushes the boundaries of a coherent expression, integrating the sensual perception, with a fascination of the richness, and precision, found in digital technology.
His compositions have a synthetic, though organic, expression, both sonically and visually.
Over the years, Søren have collaborated with numerous artist, and sees this as a learning experience, that expands his techniques and overall musicality.
Wäldchengarten
Within the last 8 years, the brothers Lars and Dennis Hansen from Aarhus have made a remarkable career in a curious and somewhat unintelligible scene. Releases such as Six Silver Bullets, Was Kommunikation? and In Preparation of Machines to Fall were received with great interest by the media and audiences around the world, while in Denmark word was spread of the noise duo’s very alternative music. Never before has a radical exponent of electronic music reached such a big audience in Denmark. Among some it was an ‘über-refined’ trademark to wear as a badge – a name with ‘umlaut’ and a taste of avantgarde, radiating the provocative curiosity of the individual in a dehumanising age of machinery. Among others it signalled a prophetic drone of electronic possibilities capable of pushing the limits for many listeners. The basic mood is elegiac and disturbing, but the exposed alienation is also perceived with a curious wonder.
It is like moving in a cabinet of mirrors where darkness suddenly falls. Here the senses are hit by a typhoon of charged electricity, and it is definitely not a display of human power. It is as if the music transcends its own will through ethereal radiation and abandoned factory buildings. It is hard to comprehend how people can devise such a brutal form of aesthetics.
Wäldchengarten have through the past years played and toured extensively in Central-Europe, Scandinavia, China, Japan and Brazil as well as performances at major Danish festivals as Roskilde Festival and SPOT Festival.
Jonas R. Kirkegaard
Jonas R. Kirkegaard (b. 1982) started composing electronic music in
2001, with an onboard soundcard, and a Juno-6 synthesizer. After a few years of experimenting and playing around, and after studying NanoScience at Aarhus University in 2005-2006, he was admittet to DIEM (Danish
Institute for Electronic Music), housed at the Royal Academy of Music in Aarhus, where he studies under Professor Wayne Siegel. Besides composing and performing his own work he has played, and still plays, in
different constallations including the trio “Polar-Fe”, the
Balkan-jazz-band “Balkan Brazil”, the folk/electronica project “Elias Knowhow”, the still active audio/video duo “Finland” and the indie/rockband “Munich”.
His work is always a mixture of experiments, and deeply personal influences. The experiments act as ways to discover new ways of making sounds, in order to build up intuitive and personal compositions. Jonas is interested in reflecting, dealing, and interpreting aspects of everyday life, such as family, local policy, food, God, the weather,
christmas, death etc.
Voks
Voks is a one-man band, creating a chaotic collage of hysterical symphonies, imaginairy folklore, childish trance and shrill pop songs. Voks has been making music since his early teenage years and started performing on the Copenhagen techno scene and releasing music on local labels in the early nineties.
Voks has been released on labels such as V/VM, Datamusik, Edward Davenport and since 2003 on the Hamburg label Dekorder.
