Fylkingen Records happily invites you to a 3x release show for the latest releases!
The three artists will perform live and the records will be for sale at a special release party price!
Tickets: 150/100 SEK
About the releases:
Susanne skog - Siberia / Sirens
Based on recordings from a 205 hour / 9288 kilometer trip by train from Moscow to Vladivostok in september 2015.
Composed, edited and mixed by Susanne Skog at BAC (Baltic Art Center, Visby, Sweden) and at the Electronic Music Studio (EMS, Stockholm, Sweden 2015).
Premiere at Experimental Intermedia in New York in december 2015.
Based on a selection taken from many years of recordings of sirens from around the world. In this work: Tokyo, Naha/Okinawa, Hiroshima, New York, Athens and Rotterdam, 2013 – 2017. Composed, edited and mixed by Susanne Skog at VICC (Visby International Center of Com- posers, Visby, Sweden), and at the Electronic Music Studio (EMS, Stockholm, Sweden). Premiere in sept – oct 2019 at Fylkingen, Stockholm.
Susanne Skog’s work within sound art and composition has its roots in narrative art forms, experi- mental radio, radio drama and documentaries. Her artwork evolves from her own recordings from around the world, sonic material which she turns into new shapes and expressions, frictions and correlations, often considering movements and spatialisation as a vital element.
She also works as an arts journalist and editor, currently for Nutida musik (the leading paper periodical for sound art and contemporary music in the Nordic countries), and as freelance radio producer. In the early nineties she was also one of the founding editors of the most influential feminist magazine in Sweden, bang.
Her compositions and sound installations have been presented in many contexts around the world, such as Experimental Intermedia New York, The Moscow Biennale for Contemporary
Art, Transmediale/Nordic Embassies Berlin, World Expo 2010/Swedish pavilion in Shanghai, Ark Hill Music Week in Tokyo and in various Swedish music and art spaces, festivals as well as in the radio, in Sweden and elsewhere.
Susanne Skog studied Philosophy, Aesthetics and Feminist theory at the University of Stockholm, Artistic Radio Production at Dramatiska institutet in Stockholm, Performative Criticism at Stock- holm University of the Arts/Royal Institute of Art, and electroacoustic music at EMS in Stockholm.
from Swedish composer Lisa Stenberg features five tracks with the magnificent Synthi 100 in Athens and the Synthi 200 in Osnabrück as the only sound sources. With the rich, warm and massive sound of the analog/digital hybrid synthesizer, Monument is a dense, captivating drone suite that draws the listener in and demands their full attention. It’s an invitation to contemplation and to lose oneself in texture and movement of oscillating waves. Monument reverberates through time, both timeless and transformative.The album was composed during residency in Athens with additional recordings in Osnabrück, originally commissioned by the art festival documenta 14, as part of a collaboration between KSYME-CMRC, documenta 14, Elektronmusikstudion and Fylkingen, to restore and reactivate KSYME -CMRC’s rare synthesizer EMS Synthi 100 that had not been in working condition for more than 20 years.
Lisa Stenberg is a composer hailing from Luleå in the north of Sweden, based in Stockholm.
Her music originates from classical and electroacoustic traditions specifically with focus on the immersive qualities. Texture, timbre and spatiality in relation to an intensified listening situation and music as embodied experience is central to her work. She is member of Fylkingen and composer at world renowned Elektronmusikstudion EMS. Her work has been commissioned and performed at festivals and art venues of experimental and extreme music, such as Donaufestival in Krems (AU), Inversia in Murmansk (RS), Norbergfestival, Norberg (SE), Open Source Art Festival in Gdansk/ Sopot (PL), Intonal festival in Malmö (SE), Sonica festival in Ljubljana (SI) and highly acclaimed documenta in Athens (GR).
Johannes Bergmark - Dust, Music for invented instruments
I’ve always been most interested in the living meeting that e.g. a concert consists of. A sign of my slow interest in the recorded sound is that this cd took so long to make, in spite of several decisions that different versions of the board and of the FyRec committee that came and went and of course forgot about it, until I confused them by reminding them that this cd is “on its way”.
In spite of everything, the collection in this cd is mostly (with one exception) live concert recordings that constitute a time document from the beginning of a very active period of playing on my instruments, and it’s also a really good cd considered as a listening experience if I might say so, and timeless in that sense.
My first solo cd, by the way.
Now, cds have become retro again, by the way.
Willy Van Buggenhout wrote to me once: “I am listening to your solo concert on Free Music Antverp 1999, what I specially love is that in the sounds you're playing there is no musical instrument recognisable. Great concert!”
Nevertheless, I have been generous enough to contribute a picture on each instrument in the cd booklet, and a short description. But the rest, the listener’s imagination has to contribute with, and that’s what’s interesting anyway.
Jag har alltid varit mest intresserad av det levande mötet som t.ex. en konsert utgör. Ett tecken på mitt svala intresse för det inspelade ljudet är att denna cd tagit så lång tid att göra, trots flera beslut av olika versioner av styrelser och Fylkingen Records-ansvariga som kommit och gått och förstås glömt bort det hela, tills jag förvirrat dem med att påminna dem om att denna cd är ”på gång”.
Trots allt är ändå sammanställningen av olika just livekonserter (med ett undantag) och instrument på denna skiva ett tidsdokument från början av en mycket aktiv period av spelande på mina instrument, och det är även lyssningsmässigt en otroligt bra cd om jag får säga det själv, och tidlös i den meningen.
Min första solo-cd, för övrigt.
Nu har ju cds hunnit bli retro igen, för övrigt.
Willy Van Buggenhout skrev till mig en gång: ”I am listening to your solo concert on Free Music Antverp 1999, what I specially love is that in the sounds you're playing there is no musical instrument recognisable. Great concert!”
Ändå har jag varit generös nog att bidra med en bild på vardera instrument i cd-foldern, och en kort beskrivning. Men resten får lyssnarens fantasi bidra med, och det är ju ändå det som är intressant.