David Granström is a composer and sound artist based in Stockholm, Sweden. 

Part of Granström's practice consists in researching new methods for working algorithmically with real-time sound synthesis and precision-tuned harmony, a work which is technically realized by employing tools that he develops in the SuperCollider programming environment and other general purpose programming languages. His compositional approach revolves around creating systems that generate musical material and integrating the results with electric guitar and other physical sound sources.

Member of Sthlm Drone Society and constant collaborator and partner of Xkatedral (label/collective involving Maria W Horn, Mats Erlandsson, Kali Malone and others - David Granström's notable festival appearances include Intonal Malmö, Norbergfestival and Sound Of Stockholm, other than media installations at Stockholm KMH (multichannel fixed media), NYCEMF in New York (fixed media), generative audio-visual installations "Transpositions: from science to art (and back)" for Dome Of Visions KTH and "Patterns" for Audiorama, specially designed acoustical space focusing on contemporary sound art in Skeppsholmen, Stockholm.

The last album Empty Room has been released on vinyl in 2021 by the renowned experimental Swiss label Hallow Ground, also home to names like Norman Westberg (Swans), Reinier Van Houdt (Current93) and the aforementioned members of Sthlm Drone Society. Sonically and atmospherically, the pieces on "Empty Room" (which has been mastered by Giuseppe Ielasi) simultaneously call to mind Christian Fennesz’s most meditative work or the physical experience of witnessing Sunn O))) live. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency at the historical site Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region (where he worked yet in 2019 for "TIMBRE" - fixed media project), David Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other, including the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.

“Kali Malone and Maria W Horn’s XKatedral label release the debut album by Sweden’s David Granström - a majestic, slow-burning exercise in algorithmic synthesis influenced by medieval and 20th century minimal composition, highly recommended if yr into Phill Niblock, Earth, Catherine Christer Hennix, Autechre.”
— Boomkat (sold out)

““Employing the medieval principles of isometricity and just intonation, Cagean aleatorics and advanced real-time sound synthesis, Granström gives rise to a rare form of stability, a sense of multifaceted uniformity, in harmony and in structure.”
— Fact Mag

“All of the five pieces have a slow development that made them extensive and expansive, ewrapping up the listener in harmonic and melodic structures. In this kind of charm that gently caresses, there are moments of certain solemnity. [...]”
— Loop - Music, Culture & Technology

“Everything is in the loop, the micro-variations only engender reflection, serenity and relaxation. Drones are obsessive, we totally lose the notions of time and space, [...] leading to the creation of an essential and intelligent ambient work. Hats off!”
— Obskure.com, translated from French

“Furthermore, the almost sacred trance (as happens with Kali Malone) is also found in David Granström's music, together with the almost fanatical cult of slowness in both compositional and mood sense. But at the same time, A distant color, secluded emits a pulsating heat that also evokes associations with more kraut-inspired electronic music.”
— Passive/Aggressive, translated from Danish

https://youtu.be/ynE_m9bqV-g

Lisa Stenberg is a composer and musician hailing from Luleå in the north of Sweden, based in Stockholm. Her music oscillates in the realm of instrumental and electroacoustic music, often drone-based and slow, characterised by gradually evolving and sustained sound. 

Her music has been performed in Europe and Russia at festivals like Donaufestival (AU), Norbergfestival (SE), OSA Festival (PL), Inversia (RS), Intonal festival (SE), SONICA festival (SI) and in various music and arts venues around the world.

The drone suite Monument composed on the historical analogue/digital hybrid synthesizer EMS Synthi 100, was originally commissioned by the renowned art festival documenta 14 in Athens, as part of a collaboration between KSYME-CMRC, documenta 14, Elektronmusikstudion EMS and Fylkingen to restore and reactivate KSYME-CMRC’s synthesizer that had not been working for more than 20 years. Monument was premiered at Athens Concert Hall during the festival and later released on cassette label Ambitious Tapes.

Recent work includes a cycle of pieces exploring the swedish folk instrument cittra paired up with electronics and feedback, and long durational compositions recorded on the EMS Synthi 100 in Electronic Studio at Radio Belgrade, re-amplified in the grand concrete halls of Ställbergs Gruva - a former iron mine in the deep woods of Sweden.

https://lisastenberg.com