Most Memorable Stuff Of 2014
Posted December 31st 2014, at 13:09 with tags , , ,


This year my annual most memorable list of films, books, LPs and museums is over at my personal website

Login performances in Barcelona, December
Posted November 29th 2014, at 11:51 with tags , ,


Login premieres at Mercat De Les Flores, Barcelona, Dec 3rd, 2014.

Login is a contemporary dance piece dealing with our increasingly digital lives and consequences of existing in hyper-reality. What if our our digital reality breaks apart? The piece is by Catalunian choreographer Nuria Guiu Sagarra. I've created the music and sound design, and perform it live on stage. This is a continuation of our work from La Muda (2013).

The performance is at Mercat De Les Flores, a performing arts theatre in the center of Barcelona. This is part of the SALMON Festival for new European performance arts. We have two performances, Wednesday December 3rd at 19:30 and again Thursday December 4th at 19:30.

Music for SONY's Little Big Planet 3
Posted November 18th 2014, at 18:21 with tags , , ,


Sony's Little Big Planet 3 for the Playstion 4 is out today, Nov 18th.

The game was developed by Sumo Digital in the UK. I was commisioned to create music for one of the levels, the "old-skool russian steampunk" space-rocket level. The score is dynamically mixed and structured by the game engine depending on gameplay. Here is a 90 sec excerpt where most of the elements appear.

It's not usually this busy during gameplay but gives a sense of content and tone. After unlocking the level the music is available for use and remix in building your own levels and worlds.

Little Big Planet is out now everywhere on Big Little Planet, and of course through the Playstation store and websites.


Portal - Premiere, Oktoberdans, Oct 20th
Posted October 15th 2014, at 16:03 with tags , , ,


Portal, a dance performance by Nuria Guiu with live music by GMM, premieres October 20th at Oktoberdans.

A portal is a doorway – to past, present or future worlds - to different realities - to different versions of ourselves.

Portal revolves around the themes in Douglas Rushkoff’s book Present Shock: When Everything Happens Now and his term digiphrenia, which tries to capture the experience of living multiple editions of ourselves simultaneously, especially in the digital world where we exist as multiple profiles. Social media changes the relationship between our body and our consciousness - and so our understanding of time and space changes.


Are we living our lives, or simulating living?


Ugress and ROMA 2089 Live, Roma
Posted September 23th 2014, at 20:38 with tags , ,


Performing two live shows at the MarteLIVE Biennale festival this week, in Rome. The performances are part of the Nordic Landscapes programme at the Pelanda Factory, attached to the MACRO Museum of Contemporary Arts.
ROMA 2089 is a 30 minute musical work that uses sounds, graphics and video from Roma city to build a retro-futuristic observation of Rome today, built through a recent residency at Circolo Scandinavo, June 2014. It involves vampires, gladiatrixes, singing fountains and mutated elephants amok in churches.
Ugress Live is an upgraded electro-cinema show with both released and unreleased Ugress tracks, electronic music with a cinematic twist. This time I'm experimenting with realtime digitally processed acoustic-instruments and trying out some new customized visuals.

"Portal" pre-production, photos, report
Posted July 26th 2014, at 12:01 with tags , , , , ,


Photos and a blog report from the last two week's pre-production of upcoming "Portal". 


Photos from Ugress, Real Ones, Bygdalarm
Posted July 7th 2014, at 20:13 with tags , , , ,


Photos from the Ugress, Real Ones and tractors live performance at Bygdalarm.

Ugress Live: Bygdalarm - Real Ones, Tractors, Lasers
Posted July 2nd 2014, at 21:49 with tags , , , ,


Saturday July 5th, Ugress performs live at the Bygdalarm festival.

With tractors. And Real Ones. And lasers. And beautiful Norwegian fjords. And everything at the same time. Just very, very, loud. 

The tractor elements are based on the previous Tractor Symphony comission of 2010, now upgraded for a live, main-stage electro-folk experience. Also includes elements from the recent Sounds Of Hardanger.

  • Ugress, Real Ones
  • Tractors
  • Lasers
  • Bygdalarm
  • Main stage, 22:00, July 5th, 2014
  • Tickets, festival program page
  • Practical info


ROMA 2089 - Can't Climb Your Wall
Posted June 30th 2014, at 23:14 with tags , , , , ,

The final part of my work in Rome, Can't Climb Your Wall, a pop-song finale. The lonely vampire Draculus is haunting an empty Rome, with his unrecruited love for the ghostly gladiatrix Moria. It's hard to be a vampire and allergic to blood. 

Also available are videos of part one Rome, part two Draculus and part three Moria. Each episode introduces the various sounds and graphics. And there are reports from each of the 24 production days in the personal blog

ROMA 2089 - Performance in Rome, June 24th
Posted June 19th 2014, at 11:38 with tags , , , ,

Draculus Moria Promo 720

Rome, 2089. A new sonic universe, a lonely vampire, a pacifist gladiatrix, wild hanniphants.

Singing water fountains, metro tunnel choirs, glitchy trams, screaming bikes, lipstick clouds, auto-tuned hairdressers, distant cannons... The everyday sounds of Rome of 2014 becomes a musical expedition into a ficitional future Rome of 2089. A lonely vampire roams the empty streets, secretly in love. A gladiatrix fights to keep her sister out of human trafficking. Noisy grafitti trashes with ancient statues and modern street-art.


Norwegian composer Gisle Martens Meyer presents his work from a month's residency at Circolo Scandinavo in Rome, Italy. He records mundane and peculiar sounds from the city, turning them into expressive musical instruments. Using this "sonic orchestra" of Rome, he reveals a story of love, loneliness and survival in a strange, but recognizable city.

Dracu PreProd 1080p 50fps

Sound, music, live visual graphics. Expected duration 30 minutes, free entrace, simple refreshments. The artist presents his work and methods before the performance, and there is an open dialogue after the show.

  • ROMA 2089
  • Circolo Scandinavo, Via Della Lungara 231, 00165 Rome (map)
  • Tuesday, June 24th, at 21:00
  • Expected duration 30 minutes
  • Free entrance, simple refreshments

June Residency In Rome, Italy
Posted May 27th 2014, at 18:31 with tags , , ,

I'm staying in Rome, Italy for all of June, a residency at Circolo Scandinavo. Through the stay I will create a work, to be presented at the end. The process is documented with daily notes.

Rome was a beautiful, post-apolyptic ruin already centuries ago. Way before being abandoned was cool.

This is going to be awesome. 

Report: Only Connect 2014, J. G. Ballard
Posted May 26th 2014, at 16:40 with tags , , , , , , ,
Expedition report from Only Connect Festival of Sound 2014, Oslo. A festival inspired by the ideas of British author J. G. Ballard. I attended and we performed the Ugress Kids set there, exposing young minds to music made with (or in spite of) unruly machines. 
I was not supposed to move at all this spring because I'm working on upcoming stuff, but J.G. Ballard is a very important writer to me. When I learned that also the late Jon Bing was involved in creating this festival, I simply could not say no. Both of these authors influenced me deeply at a very young age. Bing's series of books on the library starship Alexandria (bringing information and knowledge to remote solar systems) was my first exposure not only to science fiction but also to the concepts of knowledge and information as treasured resources. Ballard's Empire Of The Sun I read very young, and secured an early fascination for abandond-ness; not only abandoned spaces but also abandoned beings. And I just had a Ballard book marathon last summer. So, with my incredible negotiation skills I managed to convince the festival to host me for multiple days. 
A report!
Immediately upon staring his adventure, your correspondent was caught up in the information architecture of security and technology. This correspondent did not have enough coffee in the morning so he walked into the wrong lane at Tegel airport, or actually he walked into something that was not a lane, but the area for operating the screening equipment. The guards caught on long before I did, cleverly quick waving me in, and they had me screen my own carry-on, looking for explosives.
"Press this button!" - "Can you see any explosives in your bag?" I was so confused. Do I have to screen my own bags now? Thats so absurd! Then everyone started laughing their batons off and gingerly sent me back through the right lane. How eternally embarrassing, but at least I got to check out the UI of the röntgen machine. It's a touch pad, with lots of icons that looks like Windows 3.11 and the touch response is really awful. I had to really hammer the icons. No wonder those guys are grumpy some days. 
Without further adventure, arrived to Oslo just in time to catch Stian Westerhus performing his Impossible Metallic Slaughterhouse in the parking garage under Oslo Konserthus. This was a perfect start, and set the right tone of sound and venue that lasted throughout the festival. I loved his distorted soundscapes, and the venue was impeccable. Endless highway traffic passing by in the background, car-alarms going off to the bass pulses, families with kids and overfilled shopping carts confusedly getting into their Volvos accompanied by bowed metal drones and glitchy loops. Loved it.
After this, several great musical performances in Diorama, an old club across the street, underneath the Stenersen Museum. Again a perfect visual setting, my favorite part of the evening was the Kode9 set late at night, with loud brilliant rhythms and spicy, futurist sound editing and mixing. I hung out by the wall kind of spacing out, drifting away into the sounds and watching fragments of endless traffic through slits in the glass mosaic wall. Much appreciated ballardian end of an evening.
After this I just roamed lazily through the streets of Oslo back to the hotel, looking at architecture and the city as a space, with the rhythms and sounds still lingering. I have often found Oslo cold, hard and alien in it's architecture; tonight this was a feature not a bug.
The next day, Friday, I had everything at the hotel for breakfast. The bacon would NOT be approved in Britain. It was NOT approved by ME. This was maybe the only non-ballardian experience of the festival. But, I like coffee machines that WORK HARD IN ALL CAPS. 
Then I printed stuff in the lobby. I have discovered the curve representing "stuff to print" and the curve representing "staying in hotels" aligns pretty neatly, so I don't need a printer I just print whenever I'm in lobbies. There's usually more coffee too and friendly people in uniforms who calls taxis for you so I pretend it's my office with three secretaries, they're SO busy all the time so I must be really successful.
Then there was a tech check at the venue of all the equipment since my stuff is spread all over, and I was pleasantly surprised to see that I had managed to organize everything arriving correctly. I gave myself 5 stars for tour administration and then it started to rain so hard Oslo would very quickly be the setting of The Drowned World.  
With my urban ninja baldachin location expertise I managed to get from Kunstnernes Hus to Oslo Kunsthall OUTDOORS without getting wet, just in time for the Muffled Ciphers performance by Langham Research Centre. THAT I found really beautiful, maybe the most interesting and wonderful music performance of the festival. I loved the tiny sounds and measured performance and the real sounds of cassette tapes being swapped. Clickety clack click. EJECT cassette is my favorite button ever. The slower it ejects, the better.  
Standing completely still on a concrete floor for one hour was NOT a wonderful experience though, but quite possible gave the perfect Concrete Island touch.  
After Kunsthall there were short films of Swedish-Portuguese director Solveig Nordlund, amongst them a portrait and interview of Ballard himself, and this segment was possible the best experience of the whole festival. I have read a lot of Ballard but never known much about him as a person, and getting this glimpse of him as a reflected and vulnerable being that I very much could identify with, re-enforced my respect for him.
The interview with Nordlund after her films was also very rewarding, she seemed like a wonderful and clever person too. The cinema program was finished with a percussion piece Procession and Drought by composer Øyvind Mæland, performed by Pinquins. There was a part of shimmering, cloudy mutes, muffles and un-mutes of cymbals that I really loved. Like a rain of machines with low self-esteem trying to dance but the Youtube clip instructing them is constantly buffering.  
Then change of location again, towards the luxury hotel The Thief at this bling part of Oslo that I can't wait until gets abandoned or goes underwater but until then I'm probably not going to go there often. The venue was at the top roof terrace, sadly I was late due to lack of proteins that had to be replenished and I missed the first musical performance, but nevertheless - I met a bunch of really great people, talking books and films and sci-fi and abandond-ness and influences and throughout the evening DJ Strangefruit provided a superb set of music. When he dropped in a track from Carpenter's Escape From New York I stood in a quiet corner of the rainy roof terrace, looking at the blurry, Scandinavian summer night view of Oslo, new friends discussing alternate history novels in the distance and wished there were more festivals like these.  
And of course hotel security didn't like the level of the music and created the most perfect High Rise moment when luxury hotel security suits are arguing with indie art festival administration about sound levels during Blade Runner end titles. 
Then, work. Saturday morning, up unspeakably early, not eat everything at the buffet, avoid the bacon, get to venue, sound-check, wait time, perform, battle, sample, win, dance with kids, rig down, pack, run, trains, airports, non-places, the sudden silence of not being somewhere anymore. Might have done this a few times before.
An animated GIF says more than your life passes by 24 times in a pixel pr second.
Expedition conclusion: Success. 

Animated GIF Report: Ugress Kids
Posted May 25th 2014, at 14:06 with tags , , ,


Ugress Kids, live at the Only Connect festival, Kunstneres Hus, Oslo, May 2014.

Experiment: Parked Conversations
Posted May 15th 2014, at 13:00 with tags , , , ,

Parked Conversations - tiny stories happening in our pockets.

Research video experiment, using tracking and on-screen messages. I'm currently trying out various techniques for integrating and revealing digital content in the real world. 

How I am (ab)using the violin
Posted April 19th 2014, at 17:08 with tags , ,

A two minute video, how I am using an electronic violin as a sound source.

With programming I can externally control the pitch of the string before post-processing, leaving me to use one hand creating source sounds on the violin, and the laptop handles pitch and processing which I can then further manipulate with another hand. I do not have any ambitions to play it traditionally, I find it more interesting as a texture source.

(I forgot to mention in the video; of course on stage or in recordings you don't hear the original pitch of the acoustic string vibrating, as you do in the room in the video.) 

I started using the violin for last years Nebular Spool project, where it mostly worked as an offline sound source for creating sounds for further processing. But I really liked playing on it, and for the Jeanne D Arc silent movie performances I brought it on stage with me. It takes a bit of planning and progamming, but once all is set up I can concentrate on dynamics and texture and realtime manipulation of my own playing.

Here's a pop-surrealist example of a track using only the violin, a B4 plugin, beats and voice processing.

This one was done with an acoustic violin last summer. I would prefer to use an acoustic violin, the sound possibilities are so great, the wooden body is highly sensitive, every part of the violin can be touched/manipulated and used for live sound creation, but for the same reason, the sensitive body is really loud by itself, and also easily picks up other sounds on a stage, the electric version is a bit more practical to "hide" the original source sonically. 

I am also (ab)using the violin for an upcoming project with Portuguese choreographer Gui Garrido, you can see it in action in this video report from our recent work in Lisbon. 


Work In Process: Live Music videos with Gui Garrido
Posted April 19th 2014, at 17:04 with tags , , , , ,

A one minute music and video report from work with portuguese choreograph Gui Garrido in Lisbon, March 2014.

We’re working on a top secret project for 2015, the concept of realtime music videos.

Live on stage, we want to recreating the eternal surfing of Youtube music video experience, CLICK and you are somewhere else, with ourselves as the performing band and the Youtube video-makers at the same time.

We spent two weeks writing music, recording tracks, trying out various techniques, ideas, prototypes for stage performance. We now have a bunch of great tracks with various themes and concepts for performing, and currently working on raising funding.

Lisbon01 Lisbon02 Lisbon03 Lisbon04 Lisbon05 Lisbon06


Ugress Kids at J. G. Ballard sci-fi festival, Oslo
Posted April 19th 2014, at 09:40 with tags , , , , , , ,

Only Connect is a sci-fi music festival in Oslo inspired by the ideas and the universe of the influential British author J.G. Ballard. This year's festival is dedicated to Jon Bing (1944-2014), author, professor and science fiction enthusiast who got J.G. Ballard translated to Norwegian. Mr Bing was instrumental in creating this years festival but sadly passed away earlier this year.

I'm supposed to be a hermit composing in a bubble right now, not performing, but Mr Bing is one of my childhood heroes, I still want to live aboard the library solar-sail spaceship Alexandria. And Mr. Ballard one of my favorite authors. (I don't want to live in his high-rise.)

And also, actually, exposing children to the possible technological mayhem of machines taking control and making us dance is a hard job but somebody's got to do it. 

  • Ugress Kids (ages 5-800)
  • Only Connect, Festival of Sound, Ny Musikk
  • Saturday May 24, at 12:00
  • Kunstnernes Hus, Oslo, Norway (website)
  • NOK 50,- (tickets)

There is the intriguing festival programme.


Live: The Sound Of Hardanger, March 22
Posted March 20th 2014, at 23:02 with tags , , ,

Expedition time. March 22nd I perform the comissioned work "The sound of Hardanger" at Oslo Konserthus. 

For the constitutional anniversary I did a musical work based on everyday sounds from the Hardanger region in Western Norway. I spent some time in the region last summer recording sounds, and then building a digital orchestra representing the sounds to compose a work. This was presented as online music videos back in January, and this Saturday I will perform a live visual version, as part of the anniversary opening galla.

  • Opening galla, "Hardanger i hundre"
  • Oslo Konserthus, Munkedamsveien 14, Oslo
  • Starts at 19:00 

For more information see the Hardanger 2014 website

Loungemeister in Dead Snow 2
Posted February 13th 2014, at 11:05 with tags , , , , , ,

The song that never dies is in a zombie film. 

Loungemeister is in the second Dead Snow film of the bloody brilliant Tommy Wirkola.

In cinemas now. Trailer. Happy Valentines.

Swarms Of Ghost Clones - Research Performance - Bitlounge, Jan 18th
Posted January 14th 2014, at 17:48 with tags , , , , ,
I’m comissioned to create a work for Norwegian contemporary music ensemble BIT20. Premiere is set for spring 2015. Work will take place through 2014, partly in public "beta-tests" of concepts and techniques. First tryout is at the BITLounge part of BIT20's Secret Theatres at Bergen Kjøtt on January 18th.
The concept for this tryout is using swarms and flocks to recreate zombie clones of musicians. I’m currently intrigued with big data and privacy. In wetware, swarms and individuals. 
I am using these themes both theoretically and practically to build instruments and create music. I already started working with the orchestra, having individual sessions with the performers of the ensemble. I’m currently working on creating ghost clones of musicians and musical phenomena, and then using swarm and crowd simulators to create flocks of these ghost clones, and THEN using these hive-minded clone armies as musical instruments. 
We will discover if this actually works on January 18th. For this evening, I am inviting Nuria Guiu Sagarra (choreography, dance) to join me on stage, I expect this to be a highly physical, responsive and movable work. 
BitLounge is not part of the programmed concert, but a separate event after the main concert programme. You kind of buy a ticket to Secret Theatres (which will be awesome) and get these clone experiments as an extra. 
  • Swarms Of Ghost Clones
  • BITLounge, Bergen Kjøtt, Bergen, Norway (map)
  • Saturday 18th January, 2014, starts at 20:00 
  • After the regular concert programme "Secret Theatres
  • Expected runtime approx 15-20 min
  • Open for observations and comments post-performance


The Sound Of Hardanger - Video
Posted January 3rd 2014, at 12:56 with tags , ,

Lyden Av Hardanger - a musical sound expedition report.

2014 is the 200th year anniversary of the Norwegian constitution of 1814. The western Norwegian fjord region of Hardanger asked me to create a sound report from the region, to be presented online as a clip, and as a live performance in Oslo Konserthus in March. The digital version is now ready, in two video formats: The Expedition Report (above), and a Research Report.

This second video documents the sources and themes of the sounds in a slightly more detailed manner. 

The sounds from the region were recorded during a highly dangerous field expedition in June 2013. We barely survived glaciers, tents, rocks, ferries, teenagers. Then I catalogued all the takes, cleaned the sounds, found their musical pitch or rhythmical essence, and built expressive, performative digital instruments from them. These are then used to write and build the composition, and will also be used for the live performance in March.

More information (in Norwegian) at official website Hardanger 2014.