Dörrar: 18.30
Konsertstart: 19.00
Biljett: 200kr (150kr för FRIM-medlemmar)
OBS! Begränsat antal platser. Biljett betalas på plats, men kan förbokas via frimmusic@gmail.com
Med ErikM och trion KNAST tar FRIMs höstsäsong vid efter brakstarten med FRIM Fall som genomfördes i slutet av augusti.
Två akter med olika stämningslägen, olika musikaliska uttryck och olika sättningar – men med samma kreativa glöd. Två färder ut i det okända. Följ med!
ErikM:
ErikM:s Disappearing Words takes as its starting point the list of terms banned by the Trump administration — science-based, transgender, diversity, climate change… Entrusted to an AI-generated artificial voice, these words appear as a fragile memory, already under threat of erasure. Integrated into the Idiosyncrasie device, built from real-time sound streams and reconfigured raw materials, they enter a process of continuous transformation.
Little by little, the voice blurs, dissolves, merges with the streams, and drifts toward entropy: a state where meaning fades, where sonic matter decomposes into an unstable and unpredictable field. Between memory and disappearance, Disappearing Words sets political language and its manipulation against the fragility of any sonic trace, questioning the ways in which words can be erased, diverted, or rendered inaudible.
KNAST
Casey Moir: voice and effect pedals
Finn Loxbo: electric guitar and effect pedals
Martin Öhman: drums and electronics
Knast is a fusion of voice, electric guitar, and drums united in a post-apocalyptic Las Vegas of noise, commotion, crunch and crackle.
Witness Martin triggering modular synths with the vivacious and tumultuous bashing, scraping and crashing of skins and objects. Observe Casey squealing, shouting, growling, creaking and groaning in a frenzied flurry of knob-turning. And behold Finn Loxbo tangled in strings stamping and stomping effect pedals to navigate a messy path of destruction!
Soundcloud:
https://soundcloud.com/caseymoir/knast
Finn Loxbo is a guitarist with a focus on free and structured improvisation. His music is usually on either side of two dynamic extremes: quiet acoustic or very loud.
On the quiet side we find him in his own ensemble Kommun, as a solo act and in collaborations with, for example, Skogen. Examples from the louder side are Kyosaku, Anna Högberg Extended Attack, and previously in bands such as Doglife, Strändernas svall and Fire! Orchestra.
Casey Moir is an Australian born vocal-artist, improviser, and composer of experimental music, based in Sweden.
Casey is fascinated by the capabilities of the voice. Balancing thoughtful precision and wild abandon she dives into the realm of the multifaceted voice navigating an entangled web of choices, impulses, sounds, and vocal explorations in time and space. Raw. Intricate. Brazen. Unfettered. Inquisitive. Subtle. Playful, yet serious. She is also keenly interested in the concept of space and room and how room/space can affect performance, improvisation and composition. This has her composing larger scale works that use a whole room as the scene and that can have musicians and/or audience being ambulatory, changing directions, trajectories and proximities to things, sounds and others.
Casey graduated from The Australian National University in Canberra with her Bachelor of Music Performance, majoring on voice, in 2005. Since moving to Sweden in 2007 she has also completed a Bachelor of Improvisation (2011), and a Master of Experimental Composition (2021), at the Academy of Music and Drama, in Gothenburg.
ErikM is a sound and visual artist, digital concrete musician, and composer working at the intersection of experimental music, media art, and visual practices. For more than three decades he has developed a body of work that moves freely between electroacoustic composition, performance, installation, and visual production.
Emerging from the underground cultures of the late 1980s—rock-noise, fanzines, and street art—he became in the 1990s one of the early practitioners of glitch aesthetics and media détournement (Digital concrete). These experiments helped shape a practice grounded in instability, interference, and the transformation of technological artifacts into expressive material.
His work operates at the threshold between the visible and the audible. Through raw sound manipulation, field recording, and hybrid performance devices, ErikM constructs listening situations where perception is constantly shifting. Rather than treating sound as a fixed medium, he approaches it as a dynamic ecology—one capable of revealing tensions between environment, technology, and human presence.
Martin Öhman kombinerar akustiskt trumspel med elektroniska oljudsmaskiner i en synergi som gjort honom till en eftertraktad musiker inom den experimentella improvisationsmusiken. Han spelar till vardags med bland annat Klabbes Bank, Thomas Backman och Lisen Rylander Löve.
