Starting musical studies at the age of ten, Mats Erlandsson first came into contact with noise music while studying at the Royal College of Music, Stockholm, and learning about the Stockholm Drone Society, established by Maria W Horn. This led him to using the Buchla modular synthesiser for his compositions and working at the world-renowned EMS studios.

In 2016, the experimental electronic label Posh Isolation heralded Mats Erlandsson’s work by issuing three full lengths in one year: Old Tears, Selective Miracles and Valentina Tereshkova. Of the three, Valentina Tereshkova caught the attention of many; according to Boomkat, “[e]very frequency occupies its own space, suspended in mid-air like hued gasses and infiltrated by flecks of space dust grain in the finest cracks and integers, occasionally keening into amorphous plunging rhythms.” He has since released Hypodermic Letters on Portals Editions, “a shimmering interplay of the extremely remote and the radically intimate, like light magically made audible, while in continuous disintegration, vacillating between the real and the illusory.” (Schmutz)

For CTM 2019, Yair Elazar Glotman and Erlandsson will be reinterpreting their latest collaborative work for the MONOM 4DSOUND system. Following the release of Negative Chambers, Glotman and Erlandsson reconvened to compose a long-form work using electronically treated zithers and harmoniums in combination with extensive tape manipulation. The pair will present the latest iteration of this project with a small chamber ensemble consisting of Lucy Railton, Liam Byrne, Hilary Jeffrey, and Simon Goff.