Escapades in Music: Recent Episodes
Per Boysen
Media composer, performing musician, and Live Looping artist.
I compose and produce recordings for media post-production, typically to be used in television, film, games, and work together with a number of production music libraries that handle the licensing. This SoundCloud account mirrors the last three hours of my growing production music catalog.
A rather new outlet for me is to play solo concerts with the Chapman Stick instrument (profile photo) at churches here in Sweden.
I'm also a dedicated Live Looping enthusiast. Live Looping is the act of instantly sampling and remixing oneself while playing acoustic/electric instruments. It's like performing live electronics without any prerecorded parts, or like Musique Concrète performed in real-time (rather than cutting and splicing audio tape or editing samples). My point is to create the music as I go - improvising sound as well as music and remix treatments in a process of instant composing. My dream for Live Looping is to bridge the gap between composer, conductor, musician, DJ, and remix artist.
Besides patching live electronics I also play fretless Harp Guitar, normal Guitar, Chapman Stick, Alto and Soprano Flutes, Tenor Sax, Soprano Sax, EWI, fretless electric Bass, Lapsteel Guitar, and Electric Cello. I tend to consider the whole shebang my personal "meta-instrument". Mechanical instruments and electronic processing techniques all blur into one fat and messy palette that I use to paint music on the time canvas.
This track is based on an electric guitar played off an airy dub echo. Cheeky and humorous attitude on top of a heavy slow Hip Hop beats foundation. Eventually a fat synth bass chimes in with deep dives at the right spots. Produced with TV in mind. See the Soundpack for STEMS and ALT mixes.
A soft tenor sax ballad supported by a sensitive piano and drifting electronic clouds. A classic symphony orchestra lights up a slow burn by the middle of the piece. At one point a wet Soprano Sax is commenting on the tender Tenor voice. A soundpack with separate STEMS and ALT mixes is also available for media producers.
Soprano Sax piece with hip hop-like beats by live drumming in a beat jazz vibe. Going through dramatic parts with smooth transitions, getting more epic by the end with the undercurrent of dark low-tuned 8-stringed guitars. Following the happy sunshine, we bring in dark n gritty power guitar vibes.
A one-minute alternate mix to support the common info/commercial spot format. All guitar based in the seventies' idiom
Classic rock guitar ballad in three sections. Each section has its own vibe and the whole track is constantly building until the grande finale ending chord. Besides the guitars, I'm also playing the Soprano Sax, the Chapman Stick, and the Seaboard here.
Pipa and Koto plucking ahead in front of a large string orchestra with a classic horn section. A fun twist with a building groove. For the library agencies, there are two alternate mixes: one without the flute intro and one full-length that includes a drumkit basher.
Here's combining progressive in electronic dance music with progressive in guitar-driven rock music. The initial idea was to make a beat with liquid bubbly bass frequencies, like the drumming in west African music, and keep top layers meditative with some pop flavor. I played all guitars with the lovely *strandberg Fusion model. Mine is multi-scaled with floating whammy intonation. There is also a lap steel guitar in the background (Dusenberg Fairytale with two levers).
Cinematic guitar-based instrumental progressive rock ballad. I played all guitars with the lovely *strandberg Fusion model. Mine is multi-scaled with floating whammy intonation.
An orchestral instrumental piece about an intriguingly mystical place that also brings some familiar elements.
Here is an orchestral "spy cue" spiced up with aggressive electric bass and some electronic sounds.
Soprano Sax floating around synthy shapes 'n scapes. The magic in overdriven tape echoes and smooth counterpoint.
A virtual symphonic orchestra placed in the outstanding ambiance of Vienna's "Steinhofkirche".
A bright and proud instrumental track with an accentuated darker scene by the last finishing seconds. Intended for undesrscore or to set a mood in a media production.
A deep ocean vibe is created by electronic guitar playing. Sparse bass waves keep rolling in like giant whales.
A mystical orchestral track with a big impact. Dramatic and powerful. Derived from a series of live-looping guitar improvisations. This is piece #1 out of six album tracks and they all share that mystical vibe.
An orchestral piece in a big church room ambiance. The music keeps varying as the landscape does to the traveler. (Symphonic instrument libraries and multi-impulse responses are provided by VSL).
This track is a tribute to the Jazzmaster electric guitar model, that I truly adore! <3 Those Indonesian facilities, that Fender/Squire are working with, are making incredibly good instruments these days. This Jazzmaster stays true to the characteristics that have made it such a magical player's palette for decades.
I walked around with a field recorder in the Stockholm Globe Arena a day in 1998 and got to record Professor and Native American Faithkeeper of the Turtle Clan Oren R. Lyons Jr. as he was giving a seminar at the first Future Vessel conference. Oren gave me his permission to use the voice recording for composing music and I made a little track around his voice. It was never released, but I burnt a CD to send to my friend Eva Almér (she is a fantastic vocalist, you can check her out at https://www.youtube.com/user/SwedishSinger). Then I lost the original material. Fast forward to 2022 and Eva sends me the old CDr! This is how I got the idea to "remix my nineties" :-) A virtual EP or album is the plan, and this is the first remix.
I started fiddeling on my two octaves keyboard to set up this sparse groove with beep-ish tongue-in-cheek vintage synth sounds and an 808. A weird and fun "trap massacre". Then I found this lovely synth pad sound named "Evil Blues" in the gForce Minimonsta and immediately felt an urge to switch the pickups of my 8-stringed axe into single-coils mode and blast off a bluesy improvisation outro. To switch the mood like that, midways through the piece might be useful in the later media application.
This cue is one long riser. Initially leading a comfy lifestyle at a European backstreet taverna, but at 1:48 the suspenseful riser enters the red zone and the intensity starts building up. Enter a hybrid strings orchestra backed up by throbbing EDM synth-work and topped by a screaming saxophone. The rushing build-up ends in an "epic chase scene style".
I built this track with my *strandberg Boden 8 electric guitar, and found it really helpful to have eight strings.
I recorded the sax melody with the AKG clip-on fly mic you see in the picture. The sax is a tenor, a P.Mauriat Influence model. It has a fat and dark sound that I'm balancing with a bright mouthpiece, a metal Theo Wanne Shiva 3 opening #9 armed with a soft Légère American Cut synthetic reed. To get that trumpet-like tone I was playing through an envelope-following Moog filter. The orchestral sounds around the sax were all played on the laptop with software synths.
Ambient electronic jazz meets funk meets metal meets vintage synth blips meets screaming sax tones. A totally blasphemic track that I cooked up with my three instruments; sax, 8-str multiscale axe, 2-oct keyboard. LOL, it takes a "rather unique" media production to license this stuff :-)
Lapsteel guitar and sampler made this recording possible. I draw inspiration from imagining flying a non-engine craft and balancing on uplifting warm thermic airstreams. That emotion here transformed into music.
An instrumental one-minute solo piece performed on the 12-stringed Chapman Stick Guitar. The musician plays to a tape-based echo machine in order to broaden the sound and orchestration. The music implies both activity and deep emotions. For a commercial ad spot, for underscoring a scene, or for a dramatic cue.
Improvisation on piano and tenor sax. I started recording the Piano improvisation. Then I recorded an additional take with my Tenor Sax. All done "in The Zone" utilizing the Hans Zimmer Piano and a 1936 Conn 10m with a Theo Wanne Shiva III 8.
I just finished my first track using a server to host all sounds outside the DAW. This is an amazing setup because you can have so many sounds at your fingertips. Writing music and simultaneously producing a recording becomes an instant experience, like painting on a canvas.
I just finished my first track using a server to host all sounds outside the DAW. This is an amazing setup because you can have so many sounds at your fingertips. Writing music and simultaneously producing a recording becomes an instant experience, like painting on a canvas.
In this piece, I'm exploring a combination of a modern clubby EDM sound with African rhythms and the explosively chaotic attitude found in "the free impro jazz" scene of the late sixties. The drumming is authentic, in the meaning that it draws on performance rather than on loops.
Here I'm trying to keep it sparse, juggling several melodic fragments around the three-against-four polyrhythm. Open track with no drums. This piece is exploring a combination of a modern clubby EDM sound with African rhythms and the explosively chaotic attitude found in the "free impro jazz" scene of the late sixties. A hit cue at 1:29 introduces a subtly melancholic vibe. 2:27 changes the scene.
Here's a little idea that popped out when I was faffing with my Chapman Stick and tape delay that I simultaneously controlled with foot pedals. Added a Soprano Sax as well. Orchestral arrangements were done on keyboards.
Extremely low guitar strings go so loud that they make speaker cabinets shake. Combined with the pounding of big metal objects this creates a vision of huge powerful machines. A strike of doom from church bells sets off a wild chase.
My 1st library track of 2021. Cyber melodies on electric feedback rock guitar backed up by two saxes and an orchestral French Horns section. Dense but sensitive music that rolls in like gigantic waves of sonic debris.
It was such a lovely gloomy-dark-rainy December night, so I grabbed my trusty old Lumix camera to catch some of the vibes for making an instrumental music video. And this track is the music I created for the project.
I like the concept of creating video and music together. As a music lover, I enjoy it a thousand times more watching music being performed, compared to just listening back to an audio recording of what once happened in front of the mic. So as a musician and composer, I want to bring people the same experience by filming myself performing my music.
My videos are public at https://www.youtube.com/perboysen
I felt a desire to combine the Stick Guitar and the Soprano Sax in a relaxed and mesmerizing piece, and this is what I came up with. An important part of the orchestration is the live-looping of tape delays that I perform with an expression pedal while playing the Chapman Stick Guitar. I'd say that Stick performance recorded most aspects of the tune in just one first take. The tape delay looping of the six melody strings (played with the right hand, while keeping up finger-style accompaniment with left hand on the second 6-strings group) creates a kind of slow granular cloud atmosphere behind my melody playing. Much more intriguing than "the common synth pad", if you ask me :-) In fact, the Stick provided three musical parts simultaneously in one single performance (such a great instrument the STick is, I just love it!). Then the sax overdubbing the melody and the bass accentuating the deeper end is just "a bit more of what already is there". Hope you like it :-)
Tenor Sax and 8-stringed Guitar. Instrumental original by, and with, Per Boysen.
"Bells" for the bell-like guitar chords formed by the wandering of fifths intervals over a G-tone pedal note. "Boden" is the model of my modern electric guitar. The sax is much older, built in 1936. The mouthpiece is also old, manufactured in 1977, mainly by hand, supported by the very first machines in mouthpiece production. It took me a long time and a lot of experimentation with other gear before I realized how brilliant my old tenor sax setup is. I have a handful of modern top tenor mouthpieces, but this old one clearly stands out as the most playable. Isn't it is amazing that modern science has not yet caught up?
Tenor sax: Conn 10M "Ladyface", pre-war (1936). Mouthpiece: Otto Link STM 9 (original vintage 1977, "early Babbitt" build). Reed: Legere Studio 1,5 (synthetic). Mic: AKG C 414 B-TL II Mic preamp: UA Apollo Twin USB (running SSL channel strip and bus compressor). Guitar: strandberg Boden 8.
Dreamchasers, that is what we are, we musician nerds that always fail to manifest in sound what we keep hearing inside. And we try again, and again, and again... We never reach our goals, but keep searching because the journey is magical and totally worthwhile!
In this piece, I play the Tenor Sax and the Soprano Sax with three different guitars. For two of the guitars, I use interactive effects, ie sound-design processing that you play simultaneously with the instrument. First, the white Stratocaster could do all that background feedback screaming due to a certain pedal, the DigiTech FreqOut. Then the 8-stringed guitar was played through a couple of delay units where I controlled the "tape loop return level" with an expression pedal, ie allowing me to freeze chunks of audio and have it bouncing around. I aimed at playing just the first bar of fingerpicking, and freeze it until the next chord comes around. The bouncing pad-like sound sometimes came to drag or speed a bit towards the song tempo, which I actually liked and kept like that. Generally, there is a lot of improvisations and first-takes here. For example, I had planned to play the Soprano Sax to simply double up the Tenor Sax melody one octave higher, but as I was recording I got the feeling that "hey, this may turn out a bit boring" so I started to improvise different counter-melodies in the hope of getting some fresh vibes into the music. Luckily it worked. :-) Funny that the parts I like the most were not composed, they just happened.
It was love at first sight. It was just irresistible! I knew I had to bring it into a music video. I'm talking about the junk container, featured in this video. These days I keep walking around with a GoPro camera in my pocket to assemble cool environments for music videos. I've decided to make music together with video now, rather than just sharing audio recordings. This is because a video where you can watch the music being performed makes much more sense to me. And maybe others think the same way?
This album's 8 videos, and more, can be watched at www.youtube.com/perboysen
Anyway, here's another recording layering of several instruments in front of the camera. I started with the acoustic guitar, added drums, electric piano, electric guitar, 5-stringed electric fretless bass, tenor sax, soprano sax, and synth. The inspiration was the still pictures I took on a walk around the island one afternoon. I especially like the sound of three unison layered tenor saxes with this particular mouthpiece that I decided to use. Sometimes when layering sounds the magic vanishes, but this combination of tenor sax/mouthpiece/reed turned out great for layering. I topped that sound with one soprano sax voice one octave above the three tenors.
Another "lucky layer" in this piece is the unison electric piano behind the electric guitar.
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
I saw this ferry stop on a floating dock in the River and walked out on it. Since it was between tours there were no other people around. The river and the central city skyline made a massive impact. I thought the vibe would be great for a panorama video backdrop and panned the view with my GoPro8 camera, using its horizon stabilizer. The spooky dusk vibe inspired me to try making some music in Phrygian mode and I used the Push 1 to play an orchestral mockup. I worked out a nice ballad style melody theme through the chord changes and improvised a guitar solo and a tenor sax solo with the EWI.
The Phrygian mode has a certain evil side to it, that I like. Neither minor nor major, it stays in a grey zone that you normally just pass by on your way somewhere else. Much like dusk, the shortly flickering passage between day and night. But Phrygia nails you to the coffin while the same notes keep coming back in ever-shifting series of various configurations. And Phrygian can be extremely dissonant. I think listeners may instinctively experience these characteristics as an instant threat, thus causing the well-known “flavor of evil” we know Phrygian for.
In this track, I’m playing my EWI loaded with a SWAM tenor sax patch by AudioModeling and my 8-stringed *strandberg guitar with a slightly rough flintstone pick through an Axe-Fx-III. I also played the eighth notes based bass line with this guitar. The spiccato strings are from Spitfire Audio’s sampler library Symphonic Chamber Strings. Finally, the virtual drum kit I slapped maestro Magnus Brandell’s MIDI files over is the Superior Drummer 3 from Toontrack.
In early May 2020, OddGrooves.com shared a generous gift with the worldwide musician’s community, the Lockdown Grooves Pack. A free pack of drum kit performances by master drummer Magnus Brandell. Being a long-time OddGroves fan I grabbed the download right away and found this pack-of-drummings extremely inspiring for a song idea I was working on. I had already been using OddGrooves for some time, and this pack locked in so nicely with this Phrygian mode instrumental piece. Magnus Brandell plays the drums with a deep understanding of the story-telling aspects of musical performance. Ghost hits, fills, and transitions are not just thrown in at specific points, they are all parts of a continuously evolving rhythm vibe through-out the long drum kit performance. Exactly the type of drumming that inspires me as a player and composer. I felt how my sax and guitar improvisations along this track in C Phrygian came out like “standing on the shoulders of giants”… he, he… in this case the shoulders of Drummer Giant Brandell :-) Thank you, Magnus. Good job!
OddGrooves announced a contest, “to support musicians around the world to go creative during the Corona Lockdown”, and I submitted this instrumental track. A week later I was informed that my piece had won the contest, sharing the highest rank prize with three other submissions.
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
I shot the time-lapse video at Gothenburg harbor with my GoPro8 camera. Initially, it came out too short for composing any music that would make sense. I got around that challenge by looping the video and automizing the color profile in the video post-production phase to roughly mimic a high-speed full day time-lapse. Then it was possible to underscore emotional in the picture with music, and I played different orchestral music sampler libraries on my Push 1 rubber pads frame to make it happen. lyrics (Not sung here, but inspirational to this work)
Red Sky in the Morning is the Sailor's Warning Red Sky in the Night Is the Sailor's Delight
(the high statue shade to the left on the other side of the river - if you watch the video or the Track Art - is "the Fisherman's Widow", a woman looking west over the sea and hoping her husband will return alive from his dangerous work period, that could last for days on one trip)
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
One day I took a walk and came about this fascinating environment. I hauled out my GoPro and shot a minute. Then, the day after, I made some music to make the vibe more explicit. Amazing how much fun you can have with software :-)
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
With this piece, I'm trying to make music with an open sound and a dynamic interplay between the instruments. The method was to not over-compose the music but rather rely on first-take recordings where I focus on playing in a commenting way along with the previously recorded instruments (or performances yet to be recorded, that I initially only "heard" in my head). The first recording/video was the acoustic guitar.
The featured four string instruments are among my favorites. The Telecaster has Danny Gatton Pickups from Joe Barden, a sound I really like. You may have noticed that the neck head is "reversed" on my tele? That's intentional, I like the effect it has on the sound due to the special string tension. When it comes to Fender style guitars I like to assemble my own from spare parts, and I always go for a lefty neck and a nut that lets strings glide smoothly to stay in tune. At the moment I have two strats and one tele like this. The Fender Acoustasonic is my go-to guitar for acoustic type sounds by line-in recording. The *strandberg Boden 8 was used for bass lines in this video. All guitars were performed through my Universal Audio Apollo Twin USB, loaded with Unisone software ("hybrid" technology bridging analog and digital). But the Electric Cello was played through a Fractal Audio Axe-fx II because that's the best electric cello sound I have come about. The Axe-fx let me set the bow pressure (input amplitude envelope) to control the preamp gain to make the cello more expressive to play.
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
I shot this space rock video in 4k, and I hope you're enjoying the clear visuals as much as I do! I'm playing a handful of rare modern extended range instruments in this music. Below are details and links:
8-stringed electric guitar *strandberg Boden. strandbergguitars.com/product-category/guitar/8-string-guitar/
Chapman Stick Grand. 12 strings (6+6) on a 36" plank. stick.com/instruments/grand/
Sitar. 18-stringed Ravi Shankar model. Thanks to Arun Uchila for helping me to get this instrument!
Akai EWI 5000 - Electronic Wind Instrument. A Japanese wonder! www.akaipro.com/products/ewi-series. The oboe sound is modeled, through my playing, by the SWAM software developed by the nice Italians at audiomodeling.com
Electric Cello. thinkns.com/instrument/ns-design-electric-cello/
Tim Donahue Signature Electric Fretless Harp Guitar. www.timdonahue.com/harpguitars.html
Amplification: For the Stick Bass, the Harp Guitar, and the 8-stringed Guitar I was using an Apollo Twin USB audio interface, from Universal Audio, armed with the plugins Ampeg SVTVR Classic and Suhr PT100 ("PT" = Pete Thorn). www.uaudio.com/audio-interfaces/apollo-twin-usb.html.
The Cello was played through a Fractal Audio Axe-Fx II with MIDI pedal instant live control of delay effects, recorded as part of the instrument performance.
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
Some people love it when a song mixes several musical genres. I guess I'm with them because making this instrumental track was the most fun I've had in a long time! :-)
Here I'm playing the eight-stringed electric guitar, the electric cello, and the EWI - Electronic Wind Instrument - for this jam loaded with a Bass Clarinet patch from the Italian guys behind SWAM (Audio Modeling). But there is also the Glitch Stuff, ie a bunch of tape delay algos that I control with foot pedals for the guitar sound. You don't see the pedals in the video, but that sound is there for the whole second half of the track. When the drums go away I'm creating the beats with this pedals controlled glitch machinery. Ie an expression pedal to adjust feedback of three, cross-wired and partly interactive, delays, and a switch to "punch holes" into the bouncing loops if the texture should become too dense.
If you are interested in watching the videos, here's a link to "a visual mixtape" of the entire Video Music album: www.youtube.com/watch?v=9iH3oGKviEg
"A selfie duet" performance with my eight-stringed guitar and the EWI that I have loaded with fresh samples I recorded myself from this wonderful *strandberg Boden 8 guitar through a metal-style high-gain amp. A lyrical metal vibe ballad.
Matching the one minute format this Electro-Orchestral cue builds a massive suspension vibe. The chase is on right from square one; better be fast and run them out or you will be hunted down. Tension awaiting imminent confrontation, nevertheless the music makes room for voice-over narration.
Matching the one minute format this Electro-Orchestral cue smashes up a massive action vibe. The chase is on right from square one; better be fast and run them out or you will get hunted down. Perfect action cue for a hunt scene, parting either with the predator or with the prey.
This rough electro orchestral cue keeps building up suspended aggression. After a short break-down, cracking rock drums kicks in the final chase. Now even harder as an electric cello and electric guitar are screaming with the symphonic orchestra. There's a strike of triumph in the massive chaos.
The Sound of Snow and Ice. Orchestral piece for media productions. A slowly hovering cue with a suspended tension that grows stronger. Calms down to land on safe ground at last. BPM between 30 and 75.
This instrumental guitar track echoes sounds and attitudes that were common in the seventies. The sparkle that inspired me to write it was playing that very first guitar line you hear. Playing through a hamonizer adds glittery sparkles and I felt the urge to produce a glammy rock arrangement around it.
Guitar, cello, oboe, flute. The acoustic guitar is the big star in this piece. I tried to play it expressively, in fact almost too wild for this microscopically focused sound production :-) The other instruments are played more like "landscape painting" to calm down the guitar turbulence.
One minute, ad spot targeting, version of The Leaving Season. Acoustic Guitar, Contrabassoon, English Horn, Oboe.
Remix or Heartache with just the two saxes. They whisper together in a vast church ambiance.
A dramatic piece. Starting as a calm orchestral hymn, but suddenly switching into a madly bouncing wind orchestra with the heaviest ever Contrabassoon. Then back to the safety of the flat and fluffy fields, now hovering over a bubbling techno bass, to finally surf out on the whiter wings of mist.
A flying Soprano Sax to capture the dreamy vast magic of the nature reservation Hardangervidda in Norway. Flying with the sparse orchestral waltz rhythms that make fairies dance under the northern lights. And the shiny light never fades; white snow in the winter and sun around the clock in summer.
Hybrid orchestra cue for scenes of passing through a threatening and possibly dangerous area towards a welcoming safe place. The pressure goes away and you want to celebrate your success. The story of a successful escape. The first part works well as underscore, before the triumphant arrival part.
The Sitar from India plays at the front, backed up by a small strings ensemble and drumming. Relaxed but yet intensive music, good for creating a flavor of India in your media production. Voice-over narration works fine too.
A spacious acoustic guitar is sketching out melodies and soundscapes for sparse soprano sax lines. A tenor sax joins in for a duet bridge. Then the story goes into a more intimate area to slowly expand into a final huge jump and cooling off outro.
The very first Sax note proclaims "This is a love theme". Yes, indeed, a slow and emotional Tenor Sax ballad backed up by Electric Guitar and bowed Doublebass. The soundtrack for dreaming at a café while it is raining outside the window and someone just has let you down. Noir, bible black and bitter!
Behold this funny rhythm played by a brass and reed septet that is jumping up and down while playing. Bumblebees are buzzing around your neck and the sun is reflected by the shiny brass tubas and uniform buttons. The piece is matching the 30 seconds format.
This version of "Fields" matches the one-minute format. A calm orchestral hymn is hovering over the flat and fluffy fields to finally surf out on a golden cloud.
This variation of "Fields" is a calm orchestral hymn, hovering over the flat and fluffy fields to finally surf out on a golden cloud. Might work well under dialog but also suitable for calm mood with a bit of anticipation.
A hybrid orchestra that grows from tentative dawn into a full bright sunshine gloriousness. Celebrating life in a good place. Let the festivities begin!
A sweet instrumental piece I played on acoustic guitar and EWI; Bassoon, English Horn, Oboe, Cello. Starting with the guitar, I laid down the instruments one after the other by multitrack recording.
A cleaner and deep mix with the cello and viola to lead the track. The small string section brings a slightly eastern touch, a bit exotic for western ears. Dawn over River Ganges. A distant drum is pounding relaxed heartbeats. A dark and somewhat melancholic vibe, awaiting imminent adventures.
An orchestral piece recorded in one go with advanced live-looping technics. This impromptu approach is what causes the on-the-edge vibe and gives these slow melodies a high-speed corona and experimental touch.
Instrument played: Akai EWI5000, Electronic Wind Instrument. Looper: Mobius, instantly controlled by a MIDI pedalboard with one expression pedal.
Along with a soulful drum beat, a spacious acoustic guitar is sketching out melodies and soundscapes for sparse soprano sax lines. A tenor sax joins in for a duet bridge. Then the story goes into a more intimate area to slowly expand into a final huge jump and cooling off outro.
Layed down two more celli tracks to add more threatening suspense to the darkness of this little piece. :-)
Several unison celli at the front keep this track dark and suspenseful, along with the scratching claws of the backing violins. The tension keeps building up mercilessly, creeping closer. Right before the expected climax the horror suddenly backs off. The imminent threat is over for this time.
The tension begins right away in a hit from horns and timpani. An evil choir, mercilessly creeping closer. At 00:26 the action kicks in. An unpolished drumkit bashing away in front of the symphony orchestra. War horns start shaking the ground for the imminent battle. Ending in a big bang. Or starts?
Imagine yourself steering a nice sailboat on a calm summer day. Here's the soundtrack! Delivered by a Swedish wind instruments quartet.
A swarm of green people dancing around behind the trees. The eye fails to follow their moves, as they are swallowed by the blurry green vegetation. Piano and orchestra.
Close your eyes, listen and run with the hunting pack through the vast wilderness! There is Buzzing Acoustic Guitar, Oboe, English Horn, Contrabassoon, Percussion, Synth. A timeless acoustic orchestration that raises proud spirits from all eras.
A string quartet performing with un-synced tremolo and lots of overtones. Captures the emotion of hesitation, "should I stay or should I go..."
Feel the bittersweet melancholia pouring out from the twelve strings of the Chapman Stick!
A Baritone Sax and a Soprano Sax dancing playfully together over a Chapman Stick board. Sexy, cinematic, emotional.
Magical clouds come flowing from a lonely piano. But the peaceful mode is soon to be taken over by angrily stabbing cellos. Soon the full orchestra falls in with the cello section and frightens the piano. For the last part of this gauntlet, the piano hacks away hysterically.
I love that haunting Hungarian Minor Scale and that the piano plays septets over the four-on-the-floor cello section.
The very first piece I wrote for the Chapman Stick, when I was new to the instrument in 2012. Harmony and melody were chosen to optimize the voice of the Stick.
One minute cue of a Baritone Sax and a Soprano Sax dancing gracefully together over a Chapman Stick board. Sexy, cinematic, emotional.
The Chapman Stick is an extremely rare instrument with a truly magical tone. Twelve strings allow the musician an exquisitely deep level of expression.
Flute live-looping performance, a.k.a. Instant Composing, at https://www.podomatic.com/podcasts/bloopandquack/episodes/2018-10-24T12_42_26-07_00.
The meta-instrument in use consists of an alto flute and the eight-track looper Mobius played with foot controls. The technique is to instantly weave a texture of multiple contra-punctual lines. One line can be played on the physical flute while parallel lines are created by snatching and processing snippets from that mic input, altering and layering parts with the foot-controlled electronics.
For the technical concept, think "real-time Musique Concrête with digital looping instead of the classic tape loops treatment". For the artistic concept, think "walkabout unknown landscapes".
Track photo by Bill Walker
http://www.perboysen.com/
Soaring saxes gloriously flying off like hawks into the stratosphere. Underneath, earth-rooted flutes are jazzing ahead with a bold attitude. All fueled by the energy in a firm drum groove foundation.
Funky soul groove with saxophone melodies. The possible soundtrack for dynamic activities in a romantic mood. It's possible to cut at 1:30 and use the first part and later part as different cues. Third: one can also fade in from 2:12, which makes for a whimsy start that sets off on a roll quite soon
Soprano Sax, Tenor Sax, Baritone Sax, Piccolo Flute, Soprano Flute, Alto Flute and Bass Flute. The sax section riff also includes an Alto Sax. The software synth Arturia Moog Modular v3 also plays a big role in this piece.
Flute and Cello improvisation to accompany your pod trip to the Gas Planet. Do not fly close to the Floaters!
Acoustic guitar played together with interactive electronics simultaneously controlled by foot pedals. The idea is to combine feelings of fuzzy security with sparse sparkles of the unknown.
This extended version offers a sonic journey of more than six minutes. It's a cinematic remix adding slow, deep and powerful synthetic beauty.
Instrumental electric guitar piece in the spirit of Jimi Hendrix, Good Rats and fast cars. Played with a white vintage style Stratocaster guitar and heavy drumming with big toms and a huge kick inside a vibrant room. A good dose of seventies' attitude for timeless spy and action adventures to come.
Electronic synth track reminiscent of early techno and the Blader Runner soundtrack by Vangelis. Sci-fi, futuristic and trancey, with throbbing synths and intricate programming carrying the bittersweet melody. Space romance evoking that special sense of wonder. Dramatic arrangement for cue spot sync. Several alternative mixes/edits are available.
Suspended frenzy in a modern electro-jazz trio. Drawing on vintage rock-jazz fusion as well as some 60's thriller jazz scores. In the middle part the frantic chase scene beatings calm down for a while, as a cloud of mysterious electronic crickets reverberates at a distance. Then the speed hits again
Uptempo instrumental for Chapman Stick and drums. Brings the classic attitude of Italian western movies to modern production technology. Like surf pop this music keeps moving forward in a mood of optimism and bravery, with a strike of melancholy in the melody lines. Drum-free mix also available.
Ambient instrumental played on the Chapman Stick together with the Oboe. Relaxing music, letting the heart rest for a while.
Chill-out track combining electronic instruments with classical like harp, oboe and strings. Ideal for film soundtrack, soundscape, documentary...
From the CD album Stick Street 2. This piece is my instrumental cover version of the song written by Alf Hambe for voice and acoustic guitar. I have always liked the tritone turn ending the verses.
"Old Cottage Psalm" would be the closest English translation of this traditional Swedish melody, I guess. The melody comes from the Swedish region "Dalarna" and can be traced back to 1793, the birth year of roaming bard Bälter Erik Olsson who was to pick it up somewhere and teach his younger students this melody.
My instrumental version of this very, very old song. The melody exists with several different lyrics. Some say one particular old lyric is about The Plague. When playing this melody out in the streets I sometimes fantasize about taking a time machine 600 years back in time with my Chapman Stick and battery-driven amplifier. People of that age would probably recognize the melody and start singing along :-) Music can really be a time machine! Scarborough is a city in North Yorkshire, England. In the year 1253 king Henrik III of England promised that people would be allowed to have a big fair every year between August 15 and September 29. A little more than 700 years later Simon and Garfunkel released an exhuberant recorded version of the song.
(from the CD Stick Street 2) Chilly relax track played on the twelve stringed Chapman Stick Guitar.
(from the CD Stick Street 2) Traditional Swedish ethnic melody from the region of Dalarna. I'm playing it with my wenge Chapman Stick guitar and a volume pedal covering six of the twelve strings.
(from the CD Stick Street 2) A spacious track that plays with interesting counter rhythms. A lot of improvisation recorded by four layers of a twelve-stringed Chapman Stick Guitar SG-12. For more album info, please follow the Buy link!
(From the CD Stick Street 2) Naima by John Coltrane, legally represented by Jowcol Music. I hope I did not change too much from John's version to qualify by the standing cover license to record this lovely tune. Here I'm playing it on the my usual 26,5 inch scale Chapman Stick Guitar SG-12.
Big thanks as well to Fractal Audio Systems for the awesome AxeFx2 amp here modelling a Fender Vibroverb on the six fourths tuned strings and a Fender Bassman on the six fifths tuned strings.
(from the CD Stick Street 2) I played this piece on the Chapman Stick Guitar SG-12 and you can really hear how lovely the Wenge wood is colouring the tone. It took a year of daily playing to get the Wenge into what it sounds like in this recording. A luthier once told me that all good tonewoods do this from being exposed to the vibrations that come from playing the instrument. I also heard about a violin maker that use to put new built instruments in front of loud speakers for a week to achieve the same tonality, sparing musicians the need to first play it for a year before the magic unfolds. Anyway, if a Stick gets this good in just one year of playing I can imagine why those old Stradivarius instruments, from around the year 1700, are so expensive today. :-)
In total I have now recorded thirteen tracks for the upcoming "Stick Street #2" CD and that should do well. So no more Stick recordings for a while now.
Huge sounding alto flute melody backed up by acoustic guitar, harpsichord and sweeping cinematic strings. Warm, impressionistic, relaxing with a slightly bold and adventurous feel and a sense of the natural and true. Evoking memories of past loves and a sense of "life's long journey".
Melancholic acoustic guitar mood opening for a huge sounding alto flute melody backed up by sweeping cinematic strings. Warm, impressionistic, relaxing with a slightly bold and adventurous feel and a sense of the natural and true. Evoking memories of past loves and a sense of "life's long journey".
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
(from the CD Beyond the Beyond and Further Beyond)
Electric Cello live looping performance caught on record. A hand drum was then added as overdub. I was playing the cello through a Fractal Audio Axe-Fx II guitar amp/effect processor, hence the "collage of sound" as I could swap between patches while playing to layer parts in the looper.
Even though I can't really play the cello I enjoy the control you get over envelope dependent effects when bowing. I mean, if playing through a resonant filter you just press the bow a little harder to the string and the filter opens up accordingly. This is very different from playing guitar or Stick through this amp, as each note is kicked off just once, by plucking the string, and then it is left to its own devices for effects to fade away as the string vibration dies out.
For more album info, please follow the Buy link!
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
Chapman Stick SG-12 played through a Fractal Audio AxeFx-II digital modeling amplifier.
Solo piece played on Stick Guitar SG-12 through a Fractal Audio AxeFx2 using two expression pedals to simultaneously play two delay effects (one for each fretboard, manipulating the two parameters feedback and volume) and a crystal effect (just on/off control).
This piece is on my album Stick Street. Unfortunately the CD has sold out, but the album is still available as digital download.
For more album info, please follow the Buy link!
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
Reflecting the vibe of contemporary science and technology. This production music offers media producers a fast and reliant music solution. License is provided by AMG Scandinavia, just follow the link on the BUY button.
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
The instrumental album Sub City 2064 was produced as a long distance collaboration between Turkey and Sweden in the cinematic vibe of a chilly sci-fi horror soundtrack. credits
Erdem Helvacioğlu plays TogaMan GuitarViol, electric guitar and electronics. Per Boysen plays alto flute, tenor saxophone, EWI, electronics, drop-B electric guitar, Stratocaster and fretless electric guitar.
Erdem Helvacioğlu is one of the most renowned new music composers of his generation in Turkey. His music has been performed and broadcast all around the world, included in many prestigious festivals and received numerous international electronic music awards including prizes from Luigi Gussolo, Insulae, Electronicae and MUSICA NOVA Electroacoustic Music Competitions. Erdem Helvacioğlu has been called “the genius of unusual sounds” by prestigious German magazine Ragazzi.
Per Boysen’s live concerts focus on instrumental music with an openminded “psychedelic” touch, utilizing live looping and interactive electronics to extend traditional instruments in multilateral improvisation. He is a Swedish freelance worker in many creative fields, often referred to as a renaissance man. Has toured worldwide as a musician, affiliated with both major record labels, small independent labels and as a self-promoting artist. Former studio musician counting one gold selling album. Produced recorded music for CD, surround DVD multimedia, radio and television.
Recorded in Istanbul and Stockholm by Erdem Helvacioğlu & Per Boysen. Mixed by Per Boysen. Audio mastering by Pieter Snapper at Babajim Istanbul Mastering.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
http://www.erdemhelvacioglu.com/ https://soundcloud.com/erdemh
http://www.perboysen.com https://soundcloud.com/pboy
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album was recorded in 2007. An interesting fact about this particular year is that for the first time in human history more people are now living in cities, compared to living in other areas on the planet's surface. An equally interesting, as surprising, fact is that this Point Of No Return in the history of global human civilization was hardly mentioned in the media. The monumental ignorance opened me up for this music and it slipped out while the record button was pressed. It also had me running around with recording gear to catch all kinds of urban environment ambiances right there at the cusp, where the wheel of time changes direction after about ten thousand years of "minority civilization".
The twelve instrumental pieces are solo performance work, played on the instruments Alto Traverse Flute, Tenor Sax, Fretless Sustainiac Guitar, Stratocaster Twang Bar Guitar and Akai EWI 4000s. EWI stands for "Electronic Wind Instrument" and is to be played similar to a sax or a clarinet. I play both the EWI's built-in synthesizer sounds and use it as a MIDI controller for a virtual instrument I create. One of my favorite EWI sampler patches is an electric guitar multisample set I created from recordings I of with my own electric guitar and tube amplifier plus speaker cabinets; Stratocaster with floating twang bar mechanics - SOVTEK MiG-60 - Marshall Lead Series 1x12".
Most songs were created and recorded as instant improvisations with the real-time sampling/looping software Mobius. I personally regard also Mobius as my instrument, since I'm really experiencing that I'm playing Mobius with my foot controller board while also playing the above-mentioned instruments with my hands.
Photo and album cover by Danne Eriksson, www.erikssonsson.se.
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
This album’s subtitle Abstract Experimental Yet Catchy does well catch the music and concept. Fourteen solo pieces for sax, flute, fretless guitar, and guttural voice noise. Interactive electronics played by feet while the physical instrument is played by hand and mouth. Voilà – instant free form electronic Da-Da!
(from the CD Stick Street 2) This track started out as a popular street busking improvisation with the TC Electronics Flashback #1 pedal. That delay pedal is stereo and my Stick Guitar has two fretboards so I cabled six strings through the pedal's left channel and the other six string through the pedal's right channel. Then I ran the pedal with almost eternal looping feedback and straight 8th note taps on the fifths tuned fingerboard and triplets on the fourths tuned fingerboard. That poly-rhythm is a great recipe for groove and here's what it sounds like. (for recording the piece I duplicated that patch into my AxeFxII for easier recording workflow, but musically the TC pedal sounds just as good)
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Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Per Boysen is one of Sweden´s leading live-looping musicians. The marriage between real-time interactive electronics and traditional musicianship performing skills is his burning interest. A highly suitable background for bringing out the orchestrations implied by David Cowley´s animated spoken word performance. David works at Ashridge Management College where he designs and delivers executive education programs. He has worked in management development for over 12 years after a successful career in management. Over the last five years, he has also been co-operating with Noden. His area of interest covers the range from strategic management through organizational culture and change, to leadership and personal development.
Following the tradition of supporting the arts, Noden https://noden.se arranged this multi-crossover recording session. Per Boysen recorded David Cowley´s spoken word performance completely a capella, taking special care of not to interfere with the speakers' natural flow, that was later to be interpreted and set to music. Noden likes to look at Organisational Culture Loops as "edutainment", a brand new crossover expression that still has to re eive its public definition. The idea is that you can learn and reflect on new interesting concepts while moving with the music or lying down.
This CD release may seem to merge worlds widely apart, such as the strict organizational theorist´s world and the seemingly floating world of "the bohemian musician". But at a closer look, you will find that they share many essential elements. As David and Per experienced, you have to rely on the same human qualities, such as intuition and dramatic techniques. It doesn´t really matter if your performance aims at improvising music in front of an audience or taking action as a leader in a modern business organization - they both require similar skills and approaches. This can sometimes appear paradoxical, like for example being focussed on what you want to be and at the same time being open to what is happening around you. Equally paradoxically, while edutainment might be "of this moment" it is at the same time just another loop of ancient storytelling.
Turn off the light - Turn on the music - Tune in & Chill out
Composed, produced, mixed and mastered by Per Boysen. Words and voice by David Cowley. Photos by Eric Forsmark and Danne Eriksson. Project leading by Kjell Lindström, Noden AB. Executive producing and graphic design by Eric Forsmark.
Eric Forsmark plays Talking Drum, Plastic Bottle Beats and miscellaneous percussion. Per Boysen plays all other instruments.
Originally a quadraphonic surround production, this art film soundtrack has now been remixed for ordinary stereo playback. At the exhibition of the visual artist Florian Kynman’s video installation the audience stepped into a huge box of four movie screens to watch the road movie in 360 degrees while enjoying the soundtrack in four-channel surround audio. "Road-trip between Holmsund to Storjola at the speed of 2700 km per hour. The flickering landscapes outside the car vs the driver's phlegm."
I created this music in 1998 with an Oberheim Matrix-1000 and Propellerhead's ReBirth (first 303 clone software) on a Mac Centris 25 mHz pimped up with a four-channel Nubus card from Digidesign.
Below follows an article from the Swedish art magazine "Konstvägar" that describes the experience (no mentioning of the composer, sadly symptomatic)
Konstväg 7 71
Har man ont om tid eller tycker illa om att resa kan man göra som några gjorde när Projektet Konstvägen Sju Älvar invigdes i september 1998. Då bjöds genom Florian Kynmans videoinstallation Konstväg 711 möjligheten att uppleva Konstvägen - från kust till fjäll, 720 kilometer, från Holmsund till Storjola fram och åter - på 16 minuter.
Från en bil utrustad m ed fyra digitalvideokameror, en framåt, en bakåt och två åt sidorna, filmades hela vägsträckan under en höstdag som erbjöd både strålande sol och strilande regn. Det stora filmmaterialet, sammanlagt 4x8 timmar, redigerades sedan ner till fyra procent av ursprunget. Med specialkomponerad musik som ackompanjemang projicerades de fyra filmerna på väggarna i ett rum där resenären i en fart av 2 700 kilometer i timmen färdades längs hela Konstvägen utan att röra sig ur fläcken. Det blev en hisnande upplevelse och ett minst sagt häftigt konstverk som gjorde själva vägen till huvudnummer. Men vill man titta närmare på konsten och uppleva det långa galleriet i sin både tidsmässiga och rumsliga utsträckning är det nog bättre att hålla sig inom gällande hastighetsföreskrifter.