2026 Artists:
Anna Fitoussi & Adele Kosman • Dror Feiler • eurodyke • Farzané Kwartludium • Lisa Ullén & John Chantler • Marino Formenti • Nitefish • Økse • Peder Simonsen & Jo David Meyer Lysne • Rashad Becker • Rhodri Davies • Sunik Kim
Anna Fitoussi & Adele Kosman • Dror Feiler • eurodyke • Farzané Kwartludium • Lisa Ullén & John Chantler • Marino Formenti • Nitefish • Økse • Peder Simonsen & Jo David Meyer Lysne • Rashad Becker • Rhodri Davies • Sunik Kim
Kwartludium
Kwartludium was formed in 2002 by Dagna Sadkowska (violin), Piotr Nowicki (piano), Michał Górczyński (clarinet, bass clarinet), Paweł Nowicki (percussion). The ensemble focuses on performing works of young composers active both in Poland and abroad created specifically for this unique instrumental combination. Kwartludium possesses in its artistic output dozens worldwide premiere performances on many prestigious festivals all over the world. Also contemporary improvised music plays an important role in the group’s activity. In the repertoire of Kwartludium are graphic and intuitive compositions of the most significant representatives of the newest music, as well as numerous original musical projects.
Kwartludium bildades 2002 av Dagna Sadkowska (violin), Piotr Nowicki (piano), Michał Górczyński (klarinett, basklarinett) och Paweł Nowicki (slagverk). Ensemblen fokuserar på verk skrivna för denna unika instrumentkombination av unga tonsättare från både Polen och internationellt. De har uruppfört ett stort antal verk vid prestigefyllda festivaler världen över, och även improvisationsmusik spelar en viktig roll i deras repertoar.
Kwartludium
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Dror Feiler
”No IS” – ett solo av Dror Feiler för rörblås och liveelektronik
I No IS möter andetaget elektronikens malande, glödande materia. En viskning växer till en ljudvägg, ett skrik spricker och blottar något nästan outhärdligt ömt. Titeln rymmer en dubbelhet: uttalet påminner om det engelska ordet noise, men i skrift blir den en vägran – No → IS. Genom ljudet tar denna vägran kropp: ett nej till föreställningen att världen måste förbli som den är.
Kropp, instrument och elektronik river i varandra. Ur friktionen växer täta, mångskiktade och instabila klanger där förtvivlan och motstånd förenas med en envis vilja att känna, att beröra, att finnas kvar. Feiler kallar detta det brutala sentimentala konceptet. Mitt i larmet löper en darrande tråd av sorg; också den mest sargade klangen bär på en smekning. Ömheten ger vägran dess nerv och nödvändighet.
När musiken spränger gränserna för form och ljudstyrka utmanar den samtidigt de kulturella och politiska strukturer som avgör vad som är acceptabelt, vackert, ordnat eller ”korrekt”. Det sköra, skrikande och sönderbrutna gör anspråk på att höras. Oljudet blir en motståndshandling, där ljudstyrkan får domslutets tyngd och intensiteten vägrans kraft. Om kapitalismen kräver tystnad blir denna musik en form av sanning: sorgen, friktionen och den envisa livsviljan låter sig inte tystas.
När språket säger är, säger oljudet och melodiskärvorna nej. I sprickan mellan andetag och elektronik, mellan smekning och larm, rubbas det som framstår som givet. Där blir det till synes oundvikliga omöjligt att acceptera. No IS förvandlar ontologi till uppror – en vägran att acceptera den givna världen, uttryckt genom ljudets kraft och kroppens sårbarhet.
"No IS" – a solo by Dror Feiler for reed instruments and live electronics
In No IS, the breath meets the grinding, glowing matter of electronics. A whisper swells into a wall of sound; a scream cracks open and exposes something almost unbearably tender. The title holds a double meaning: spoken aloud, it recalls the English word noise, but on the page it becomes a refusal – No → IS. Through sound, this refusal takes on a body: a no to the notion that the world must remain as it is.
Body, instrument and electronics tear at one another. Out of the friction grow dense, many-layered and unstable sonorities in which despair and resistance merge with a stubborn will to feel, to touch, to remain. Feiler calls this the brutal sentimental concept. Through the din runs a trembling thread of grief; even the most lacerated sound carries a caress. It is this tenderness that gives the refusal its nerve and its necessity.
As the music bursts the boundaries of form and volume, it simultaneously challenges the cultural and political structures that determine what is acceptable, beautiful, orderly or "correct". The fragile, the screaming and the broken lay claim to being heard. Noise becomes an act of resistance, where loudness takes on the weight of a verdict and intensity the force of refusal. If capitalism demands silence, this music becomes a form of truth: grief, friction and the stubborn will to live refuse to be silenced.
Where language says is, noise and the shards of melody say no. In the crack between breath and electronics, between caress and clamour, what appears to be given is unsettled. There, the seemingly inevitable becomes impossible to accept. No IS turns ontology into revolt – a refusal to accept the given world, expressed through the force of sound and the vulnerability of the body.
Dror Feiler
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Økse
ØKSE's eponymous debut album was released in 2024, on the revered label Backwoodz. It's a daring experimental Jazz project that features contributions from some of hip-hop's most unique voices. The band itself is an international all-star team consisting of; NYC based drummer Savannah Harris, Danish saxophonist Mette Rasmussen, Haitian electronic musician Val Jeanty, and Swede Petter Eldh on bass, synths and sampler. Each already established as solo artists, as ØKSE they collectively mine new ground, pushing and pulling at the edges of genre. «Everything from jazz to joik to rap to Haitian vodou." - Martin Bjørnersen, Klassekampen - “The glass wall between hip-hop and free jazz is the most obvious one that is shattered, but also in the sound and the underlying ideas, worlds that at first glance seem far apart are interwoven.” - Stijn Buyst, Gonzo (Cirkus) - “ØKSE’s appeal remains the interplay between the musicians, their ability to improvise without loosing the hypnic head-nodding groove that makes hip-hop what it is without ever sounding like anything less than jazz musicians”. - Joseph Sannicandro, a Closer Listen - “But regardless of genre conventions, ØKSE make great music..” - Joseph Sannicandro, a Closer Listen
ØKSE means AXE in Danish. The Axe has a lot of connotations, beeing one of humankind's oldest tools. Axe is also Ashe; the life-force that runs through all things, living and inanimate. Ashe is a current or flow, a groove that initiates can channel so that it carries them along their road in life. These are the energies that flow through ØKSE, and animate their debut album and live performance.
In 2025 the band won the German Jazzpreiz for best Album of The Year International and the Danish Music Awards Jazz for best Alternative Album of The Year.
ØKSE
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Rhodri Davies
Rhodri Davies is a harpist, improviser, composer and multidisciplinary artist. He plays harp, bray harp, horsehair harp, electric harp and builds wind, water, ice, dry ice and fire harp installations and has released eight solo albums. His regular groups include: HEN OGLEDD, Common Objects, IST (with Mark Wastell and Caius Williams) and duos with John Butcher and Mark Sanders. He has worked with the following artists: Derek Bailey, Hamid Drake, Simon H Fell, Will Gaines, Jenny Hval, Sofia Jernberg, Theodora Laird, Lina Lapelyte, Nicole Mitchell, Butch Morris, David Sylvian, Pat Thomas and Otomo Yoshihide.
Davies was closely associated with the pioneering composer Éliane Radigue performing eighteen of her pieces. She composed OCCAM I for Davies in 2011, the first in a series of solo and ensemble pieces for individual instrumentalists in which a performer’s personal performance technique and particular relationship to their instrument functioned as the compositional material of the piece. New pieces for solo harp have also been composed for him by Philip Corner, Carole Finer, Alison Knowles, Catherine Kontz, Phill Niblock, Ben Patterson, Mariam Rezaei, Mieko Shiomi, Yasunao Tone and Christian Wolff.
In 2008 he collaborated with the visual artist Gustav Metzger on ‘Self-cancellation’, a large-scale audio-visual collaboration in London and Glasgow. In 2012 he was the recipient of the Foundation for Contemporary Arts, Grants to Artists Award, he was a Chapter Associate Artist (2016-19) and in 2017 he received a Creative Wales Award. He is a co-organiser of the NAWR concert series in Abertawe-Swansea.
Peder Simonsen & Jo David Meyer Lysne
Peder Simonsen & Jo David Meyer Ly psne work at the intersection of acoustic instruments, mechanics and specific tuning systems, with just intonation, resonance and a fusion of acoustic and electronic sound at the centre. In recent years, the duo has had an extensive production, with commissioned works for Henie Onstad Kunstsenter, Ekkofestivalen/KODE and Ensemble neoN, alongside album recordings. On October 23, they released their second album, Spektralmaskin II, a work for self-playing electromagnetic grand piano and chamber ensemble.
Simonsen is a composer, producer, instrument builder and member of the microtonal tuba trio Microtub, with a long-standing practice in just intonation. Lysne is a composer and instrument builder based in Gvarv in Mid-Telemark. His work with robotics and acoustic instruments explores unconventional tuning systems and just intonation — with an emphasis on the quiet, fragile and meditative.
They have collaborated with a wide range of musicians and artists and, in their respective careers, have worked with, among others, Thomas Strønen, Espen Reintertsen, Ellen Arkbro, Catherine Lamb, Bendik Giske, Oren Ambarchi, Jaga Jazzist and Jo Berger Myhre.
At Sound of Stockholm, we will hear a duo set with magnetic electric guitars, synths and electronics.
Rashad Becker
rashad becker is a syrian-german composer and musician residing in berlin. rashad has been an active part behind and within a wide variety of musical cultures for more than three decades; from the studio to the club, to academia, fine arts, film and theater, from the tiniest back-rooms to glorious temples – adding up to involvement in thousands of productions.
rashad’s own musical creations have become a revered and idiosyncratic part of the modern catalogue of synthetic music. this work sits outside the symbolic charge of genre, unfolding an alternate narrative within its own tragic-comical realm. praised for his unique approach to sound-sculpting, becker’s music lives on the cusp of the plausible and the uncanny – teasing familiar readings but twisting them towards the surreal and improbable.
it is here single sounds are employed as agents of meaning, affect and interaction in the bigger bowl of music. the core driver is exploring sound as a transfer-model between exposure and experience – and music as a bonding agent of social movements.
recent live performances unfold as deeply physical, densely populated, spatially and sentimentally disorienting audioramas of absurd realism.
Rashad Becker
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Sunik Kim
Sunik Kim is a musician, writer, and filmmaker currently based in Los Angeles. Their recent work attempts to unfold problems of perceptual and temporal distortion through computer-generated sound. Their writing on subjects ranging from Korean communism to Conlon Nancarrow has been featured in The Wire Magazine, Pitchfork, and elsewhere. They run an imprint for books and CDs called Castrati.
Audio
Anna Fitoussi & Adele Kosman
Mini works is a collaboration between Anna Fitoussi and Adele Marcia Kosman exploring the ancient relationship between music and dance through a series of short works for voice and movement. Inspired by the choreographic clarity of Blake Works by William Forsythe and the raw vocal expressiveness of David Lang’s choral music, each chapter pairs a live-performed song by a vocal trio with an original dance score. The ensemble performs both existing works and original or commissioned compositions, each developed in close dialogue with choreography. Conceived as a choreographic laboratory, Mini Works uses rhythm and counting as its structural framework, while melody, syncopation, and spaciousness become a shared playground for musical and corporeal expression.
Repertoire
David Lang — I Want to Live
Adele Kosman — Speaking (to the sea)
Meredith Monk — Cell Trio II
David Lang – I lie
Performers
Anna Fitoussi – Dance and voice
Adele Marcia Kosman – Soprano voice
Nicoline Solberg – Mezzo-soprano voice
Hanna Lindqvist – Alto voice
Adele Marcia Kosman is a composer, vocalist and computer developer educated in electroacoustic composition at the Royal College of Music in Stockholm. Her practice spans vocal works, sound installations, acousmatic composition and live performance. Alongside her solo practice, she fronts the alternative rock band Kid08 together with composer Arvid Kraft.
Anna Fitoussi is a performer and dance artist based in Stockholm. Working closely with rhythm and syncopation, she explores the stage through state work, language, folklore, sound, touch, her voice and the voices of others.
Nicoline Solberg is a Stockholm-based folk singer, classical chorist, and concert producer working across a wide range of musical settings. With a background in both folk and classical music, she combines performance work with concert production at Stockholm Concert Hall, with a particular interest in both symphonic and jazz concerts.
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