Sound of Stockholm is a festival for contemporary music and performing arts, programmed by a constellation of independent member societies, each with a different specialization, from experimental and electronic music to free improvisation. This year’s edition is supported by Statens Kulturråd, Nordisk Kulturfond, Musikverket, RANK, MDT, Elektronmusikstudion (EMS), The Goethe Institut, Creative Europe Program of the European Union.
How does a collective think as one?
Sound of Stockholm’s six member societies have come together to explore how dissonance operates in contemporary music and arts. The 2017 edition emphasises the fact that sound is produced and performed by a multitude of artistic practices. Through composing for instruments, vocal sounds, movement, and images, performing artists bring us a broad set of experiences; all with a different take on what collectivity in sound can be.
The festival premieres at MDT, a venue for choreography and performance art. Here, the performance workshop, Tunings inserts the notion of social interaction when composing for moving bodies and voices. Later in the program, we invite you to a night of live sets and talks at Scenkonstmuseet (The Swedish Museum of Performing Arts), where Konstmusiksystrar will present new commissioned works as part of their mission to advance gender equality in the music scene.
The discursive program includes an artist talk by Danish sound artist and composer Jacob Kirkegaard, who invites to meet unheard sounds from historical and anatomic wastelands. At Scenkonstmuseet, a panel discussion will focus on feminist approaches within electro-acoustic practices. Kulturhuset will host an artist talk by New York based performer and composer, Lea Bertucci, who will present her choir piece ORACLE, in which lyrics are replaced by onomatopoetic words and glottal consonants. Finally, Volker Bertelmann, a.k.a Hauschka, will provide insight into the sonic landscapes of his prepared piano: sound altered by the insertion of alien objects between its strings, hammers and dampers. This conversation is curated by Curt Lundberg/Gram[m]ofon.
This year’s line up also features the network-building platform, Club Contemporary Classical Subset Indie-Classical (C3⊂IC), with Sound of Stockholm as a founding member. The network focuses on music located between the genres of Contemporary-Classical and electronic. In Stockholm, C3⊂IC provides four sets of acts and collaborations including artists such as Hauschka and U: & ekke. Additionally, Sound of Stockholm is part of Nordic Culture Fund’s PULS project 2017-19, which encourages musical exchange between Nordic countries.
Toward the end of the week, we will continue our fruitful collaboration with Under Bron. Here, Swan Meat’s carnivalesque assemblage of industrial spoken word meets Crim3s’ sonic excavations between the virtual and the real. The same night, Brooklyn based DJ and producer, Ciarra Black, debuts a live set of durational electro scapes. With the boisterous break-driven rave nostalgia and multi-faceted sonic persona of Bjarki, the club night ends in a borderland of music both contemplative and danceable.
The festival’s finale will take place in the post-industrial site Reaktorhallen (R1), where old nuclear architecture is rewritten through the light and sounds of Lea Bertucci, SHXCXCHCXSH and Roll The Dice. Utilising its unique spatial expressions, the sonic space of Reaktorhallen might transform a single sound into many: one for each Sound of Stockholm.