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At our concerts we want to be firestarters for chaos, the unexpected, and fierce moshpits. We attempt to establish directionless energy with no particular purpose other than to fuck shit up in an everyday existence that we often feel to be dull, passive and predictable. Through this practice there is in particular one type of experience for which I have garnered an interest – what role danger and fear can play in a musical experience. And, right in the midst of it; the encounter of “zen” in chaos. When I, by chance, came across an article on danger music it became clear that danger in music already was conceptualized. What sort of experiences do we share? What accesses to understand the phenomena danger music is there? What place can these seldom and special experiences of mine of quiet, calm and clearness have in danger music?

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    • Edvard Haraldsen Valberg
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    At our concerts we want to be firestarters for chaos, the unexpected, and fierce moshpits. We attempt to establish directionless energy with no particular purpose other than to fuck shit up in an everyday existence that we often feel to be dull, passive and predictable. Through this practice there is in particular one type of experience for which I have garnered an interest – what role danger and fear can play in a musical experience. And, right in the midst of it; the encounter of “zen” in chaos. When I, by chance, came across an article on danger music it became clear that danger in music already was conceptualized. What sort of experiences do we share? What accesses to understand the phenomena danger music is there? What place can these seldom and special experiences of mine of quiet, calm and clearness have in danger music?
  • Edvard Haraldsen Valberg - VOLDELIG LYD - 2019
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