Sonisk Selskap 2025

How did we get here

2nd of November 2025

Musicians (residency and concert):

Kjetil Traavik Møster: Saxophone, Clarinette, percussion & effects

Njål Paulsberg: Synths

Gabriela Garrubo: Vocals & percussion

Torkil Hjelle: Electric & upright bass

Martin Borge: guitar

Herman Kirkenær Krogh: Drums, electronics & percussion

Dancers from ImproLaBergen:

Ewa Lorenc

Katja Nyqvist

Rita María Muñoz Farías

Malin Nøss Vangsnes

Roskva Yasmin Andersen

Anaïs Martinez Carreras

Guest: Veronica Robles Thorseth

Choreographic score:

Choreographic score: Roskva Yasmin Andersen and Veronica Robles Thorseth

Live illustration:

Gillian Carson

Crew:

Technical Director & Sound Engineer: Leo Preston

Technical assistent: Julia Engan Skei

Cameras (dancers & visual artist): Øystein Nesheim

Camera (Musicians): Nils J. Nesse

Streaming & video technical: Thomas Brandt

For the tenth edition of Sonisk Selskap, "How did we get here?", Kjetil Møster assembled an eclectic group of musicians, associated with a broad span of genres. Taking inspiration from the New York’s 1970’s No Wave movement, this never-before-assembled group experimmented with immediate and direct ways of interacting, often moving through many different soundscapes in one epic long take.

From shimmering floaty and gentle, all the way to energetic pumping grooves.

The laboratory ended as always with a 30 minute improvised multi-media concert (on the 2nd of November) with dance improvisation by dancers from ImproLaBergen in Wrap’s Big Project Room and White Room. Visual artist, Gillian Carson made a live drawing/performance in the Big Project Room, responding to the dancers and music in real-time, and filmed from above.

A live audience experienced the musicians live in Studio B, together with projections showing the dancers in the Big Project Room and White Room, as well as Carson’s live drawing.

Recordings were made using 26 tracks via the dLive mixing system with an audio-over-network card. Sound Engineer Leo Preston, and assistent technician Julia Engan Skei sat in on the sessions and recorded them from the same room where the musicians performed. This meant that the musicians could work with optimaly controled sound during the entire residency (including the open concert). Typically the sound engineer would be in an isolated control room, from where it is possible to make more informed decisions about the mix being sent to the other rooms, and to the live stream for the event.