The Matti Kallioinen concert is sponsored by

Abnormal Audio was founded by artists Jakob Senneby and Allen Grubesic. The two had worked together previously in Sssystème and decided to initiate abnormalaudio as a platform for promoting and releasing sound projects by performance and new media visual artists.


The first release
Matti Kallioinen CD "Koncentrerad Saft," November 15. from 9 to 12 PM at Moderna Museet c/o Klarabergsviadukten 61, Stockholm

Enter the bizarre fantasy world of Matti Kallioinen, as the music takes you to nowhere land where you can taste the brews of the smurfs and gobblins. Matti Kallioinen's playful tunes will enchant you as they play through the journey to the planet of "concentrated lemonade"...

Interview between Matti Kallioinen and Peter Cornell

Matti photo documentation from Z-bar


The second release
EMMON 12 Inch vinyl "Show OFF," December 2002.
The story of Emmon began at Konstfack School of arts; experimenting with sounds and computer she discovered her sound. Studying photography and working with sounds. Emmon started performing with video projections by Måns Nyman; on stage she plays a game with pop icons and blends it with great music. Her debut 12" contains the hit songs "show off" and "common," along with great remixes by abnormalVAG.

Text on EMMON by Johanna Paulsson

EMMON photo documentation





Tobias Bernstrup, October 2002

The maxi single vinyl is sold at Sparwasser HQ for 9 EUR


Tobias Bernstrup participated in "The island and the aeroplane," October 2002
and performed in 0ctober 2001 at Sparwasser HQ.












Interview between Matti Kallioinen and Peter Cornell that is made exclusively for the record release on Abnormal Audio.

Peter Cornell is an art critic and professor of art theory at the Royal College of Art in Stockholm.



Stockholm, September 2002

Peter Cornell: All your works have a magical immediacy, are impossible tostay out of. Often you inhabit them yourself. In Gnome House soup was being made, you were boiling broth from what was left after the gallery had been cleaned. People gathered round the stewing pot, looked at the slides projected on the walls (a crumb of dough in each glass frame) or could play a game in the inmost room if you guessed which of raisins spread out on the floor was correct, you could eat it. In your This is Where Junior Lives we suddenly found ourselves in the room of an 11-year-old; and your happy face stuck up from a little white podium on the floor like a living sculpture. There were Pampers diapers on the walls, a cute picture of a cat, a container of raspberry squash in the corner for visitors and a little dog on the floor. I remember my reaction of exhiliration and suppressed, scarcely perceptible fear: you displayed yourself like a freak with no body and no protection.
The spirit of this and your other works is related to a relational aesthetic, but at the same time they are bizarre. What is your view of the relationship?

Matti Kallioinen: The positive thing about relational art was that (at its best) it came gushing out straight into the face of the often amazed spectator, instead of turning inwards. However, the movement soon became a prototype for the production of art in the 90s and gave rise to a cascade of boring quasi-democratic works. The spectator was expected to "participate by writing something on a Post-It or draw something on a whiteboard. The artist never had to take the risk of being disturbing and moreover it was/is easy to get funding when you pretend to be a democrat. But a democracy in which you never express your own opinion and always bounce questions on to someone else is, after all, totally sick. What I missed a lot more in art was people who expressed their visions in a way that made them real, tangible, or even importunate for the world around them.
I want to meet the viewer face to face, out of pure curiosity. It was somewhere there that Junior was born, as a strategy for creating this kind of encounter. Being seen as bizarre is a sign for me that I am communicating something that is not already taken for granted.



PC: Junior is there some kind of strategy in the childishness? Your works often contain references to children, in the materials, the play situations, caves and shadowplay and a Grimms, Fairy Tale feeling of something both wonderful and frightening. This is true for instance of the works where you use food and drink and body fluids in a kind of experiment that involves both slapstick and compulsion.

MK: Art for me is playing. I would rather play when producing art than make "real art, whatever that might be. The idea that playing is childish or cute is not true. Playing is about locating power, defining limits, determining what it is possible to say, do or think. Slapstick and compulsion, isn,t that what the body is best at?
When you spend as much time in information worlds as we do today, your body, digestive system and body fluids become a kind of alien, nasty, hyper-reality outside the world in which your brains function. You don,t feel at home in your body, and it even has the cheek to threaten your life if you stop eating!
The brews and juices that are drunk in my art point to various sides of this, a blind, suckling new-born kitten, an alcoholic,s unconsoling thirst or a beaker of blood quaffed in some pompous sacrificial rite in a B horror movie. The thirst itself in your mouth for some miraculous substance. A bit like Dracula, although even closer to Dr. Jekyll


PC: And you call your CD "Juice Concentrate a title that indicates the link between your artistic use of sound and image. Can you tell us a bit more about the ideas behind your music and where it originates?

MK: There are no strict boundaries between my art and my music. I see the music as a kind of abstract puppet show with different characters acting short scenes, very visually in other words. And I want listeners to experience the music that surrounds them in space as fantastic scenography.
My music can sound as if it is a very eclectic form of entertainment. I see it as something to be consumed, not an accessory or an argument for some specific sub-culture.
Creating melodies is like needlework for the ears, it,s what I do to relax, a form of doodling.

PC: As far as I can see music has always been close to you ever since you played the violin while you were growing up in Sundsvall in the north of Sweden. You produce your CD,s by using totally different sounds and quite a different technology. But despite the sophisticated electronics, you allow your music to be have the kind of electronic sound that I associate with the home electronics of the 70s and 80s. How do you set about it?

MK: I use software that lets you assemble your own instruments using small components that either generate or modify the signals. It a kind of Lego for sounds, very like the way in which the modular synths of the 60s worked. Electronic recordings from those days (Perrey-Kingsley, Bruce Haack, Dave Vorhaus, Joe Meek for instance) are full of inventiveness, humour and playfulness, and this has inspired my sound. Sampling, which came in the 80s, is really the only new thing that has happened with sound since then. Otherwise the evolution of the synth has focused on the more limited instruments, because they were easier to use and to sell.
During the 80s electronic music took on its own stereotype in the fashionable, young synth culture. But the music that has really influenced me is music of computer games.
The primitive sound cards in home computers in those days forced music to focus on good and ingenious melodies. They were often more innovative and flipped out than popular music was. Ben Daglish seemed to have no rules to obey except that it should never be dull! Even so, it was not considered to be "real music in the 80s.
When I like many other people began to rediscover this musical treasurehouse at the end of the 90s it was an incredibly powerful feeling. Music that at the end of the 80s had been considered inadequate and vapid seemed to pulse with character and feeling with the soundspectrum we have today.
But electronic music is only a part of what has influenced me. The imaginative musical worlds of Tyrannosaurus Rex, Tiny Tim and The Incredible Stringband are also some of the things that have distorted my way of thinking, both as an artist, a musician and a human being.


Concert with Matti Kallioinen at Sparwasser HQ's Z-bar on October 31. 2002
















Emmon mixes the cool sounds of 80´s electro, disco and pop with touches of video game sounds. Behind the name stands Emma Nylén, a student at Konstfack, the art school of Stockholm. It was also here the story of Emmon began. Emma was working on sound installations and wanted to find out how different kinds of sounds affects the body physically, for instance how infrasound makes you nauseous. On the opposite, the dance friendly and often quite cheerful music of Emmon represents the positive part of the experiment. One of the first songs written was Monodome featured on the debut demo Hemmon. Emmon began performing live accompanied by flashy video projections made by Måns Nyman. Jenny Mörtsell and Martin Bergström who are responsible for graphic designs and clothes respectively are also part of the Emmon crew. At the moment, Emmon is working on her debut album Discoperkele set out for release on the Swedish label AbNormalAudio some time during next year.

Johanna Paulsson



EMMON in concert at Sparwasser HQ on October 31. 2002

emmon1 emmon2