Daniel M Karlsson

Composer and musician focused primarily on texture and timbre.
Works extensively with algorithmic composition.
Transhumanist Singularitarian.
I also do mastering.

Runs Ambitious Tapes.
1/2 of Xchn.
1/3 of Algorave Stockholm.
1/4 of Sthlm drone society.

Expanding and overwriting is out now on Conditional.

PGP public key

- Compositions - Solo - Collaborations - Resources - Contact - Booking - HeadShot -


A selection of my compositions:

Factors that influence consumers’ buying behaviour


Published June 25, 2017.

100 one line compositions

Check out @tidalbot on birdsite and download the code here.
It has examples of stuff that is possible and that I like to do in Tidalcycles. It is by no means a full demonstration of all of the things though. I mostly use this file as a quick lookup file for when I forget how to do a thing. This doesn't contain all of the samples in SuperDirt but a lot of them. So this might could be a quickish way of zipping through a subset of the samples in the DirtSamples folder to get an idea of which one's you might want to use. I regard each line as a composition in it's own right. I'd prefer you download the code and let each line run until you've had enough of it. You might be pressed for time though (like most folks these days) so I made the video below, where I relatively unceremoniously hurry through the hundred lines as quickly as I had the heart to, just to give you an idea of what it's like.

Published April 6, 2017.

How to block ads in AR

Originally composed for, and performed during Maria W Horn's Holodisc releaseparty. Later recomposed because reasons.
Explores ideas concerning the advent of new technologies and sustained disdain for thought control while celebrating the resourcefulness of counterculture.

Published March 17, 2017.

Torched Limo

Violence is never the answer however destruction of property is in no way a kind of violence.
A society based on producing and selling products at ever increasing profit margins is wrong. A society should be about the people in it. A persons value should not be measured in their ability to conform to social norms concerning consumption. The value of all people should in fact be upheld as equal.
Tokenized inanimate objects predominantly used as upper class markers exist as an intentional provocation to lower classes. I would prefer this provocation not be left unanswered. For the ruling classes to flaunt their wealth without fear of retaliation is an insult to the rest of us. The appropriate response is for example a torched limo or a torn down recycled advertisement. When privately held wealth is allowed to accumulate without restrictions of any kind the outcome is not in the larger public's interest. Keeping your head down only further serves to represent the interests of those few who are at the top, when for instance there is no tax on wealth, or your commute to work is littered with advertisements, the rights and freedoms of lower classes suffer as a consequence. It is in our interest to exercise our limited means of expressing defiance and also to encourage others to become actively involved in resistance.

Made in collaboration with hexler.
My part in this collaboration is code written in TidalCycles.
Download code.

hexler's part is code written in kodelife.
Published February 28, 2017.

Any pattern can be broken

We are creatures of habit. Much of our behaviour has been installed by conditioning. Often it is installed in our minds without our consent or even our being conscious of that conditioning. Most of us are engaged in various forms of consumption of goods and services as we go about the business of trying to survive our daily lives. We fall into a demographic category of one kind or another and as such we are reduced from individual humans beings to patterns of consumption. The purpose of this reduction is to optimize profits, and the terms for gains are growing ever shorter. As algorithms created to service companies scour over human generated data to find anything and everything that may further optimize towards short term monetary gains the concerns of individuals are being quantized, often with extreme violence, in order to force universal conformity to uniformal monoculture. The dynamics of existing as a thinking human are being scaled to fit the narrative to which we have been conditioned throughout all of our lives:

Buy something to feel something.
 - Lord Crunkington III, Postcrunk

American cultural imperialism has proven to be an incredibly powerful weapon for furthering the dissemination of capitalism and it's worldview. It dictates the terms for our fantasies of fullfillment within our lives. How we dream. How we love. It prescribes our very thought processes. It manufactures consent.

The mass media serve as a system for communicating messages and symbols to the general populace. It is their function to amuse, entertain, and inform, and to inculcate individuals with the values, beliefs, and codes of behavior that will integrate them into the institutional structures of the larger society. In a world of concentrated wealth and major conflicts of class interest, to fulfil this role requires systematic propaganda.
 - Noam Chomsky, Manufacturing Consent: The Political Economy of the Mass Media

Music for TidalCycles. Published January 27, 2017.
Download code.

A new vision of the future for a new left

As a new left has emerged it has become incrisingly clear that there is a lack of vision. A desired end state has not been formulated. Crowds have gathered, even organised to some extent, but haven't been able to say anything about the kind of future they want to see. The left needs to formulate a coherent strategy anticipating the end of work.

Music for TidalCycles. Published December 6, 2016.
Download code.

Austerity will not lead to growth

As cuts have been made to public resources, in the hopes of cutting expenditures, the middle class has all but vanished and class differences have been reinforced. If, on the contrary, public "expenditure" were to be increased in the form of public healthcare for all, free access to education and ultimately universal basic income, people would undoubtedly prosper beyond even our wildest imagenings.

Music for TidalCycles. Published December 5, 2016.
Download code.

J's focus

Live performance at Nag32 on August 21 2016 using TidalCycles for sequencing samples and sending MIDI to Reaper which is where both the synthesis and the signal prcessing happened.

Music for TidalCycles. Perfomed August 21 2016.

Equivalence of categories

In category theory an equivalence of categories is a relation between two categories that establishes that these categories are essentially the same.
Within this piece I have compared densities in order to derive a series of pitch sets. Durations are connected to intervals in this way.
The organ is the Acusticum organ in Piteå. This monumental instrument exists in my mind as an absurd exemplification of how resources can be held in artificial scarcity and, ultimately, how this is a disservice to our society and to humanity at large.

Music for computer controlled organ and electronics.
Published August 25, 2015

A working model of human desire

As a transhumanist, I am often overtaken by thoughts of the future in general and mind uploading in particular. I see an oppourtunity to increase control. I often find myself at odds with the commonly held notion that our essence as humans is tied to the idea that we were made in order to feel. I am certain that we were made by no one in particular and for no particular reason. I would prefer that we use our time to think. I strongly disagree with the idea that we would be something other than human if we were able to exercise even a monicum of increased control over our emotions. As minds and bodies are still intertwined we have little choice but to use reasoning to try to make sense of our emotions. The human connectome project is receiving the same reactions as the human genome project did as it was initiated. Namely that the time it would take to complete it would make it an insurmountable task. The problem with these estimates, back then with the human genome project, and now with the human connectome project is that they've been made using linear extrapolation. Progress needs to be extrapolated exponentially in order to be understood.

Music for computer controlled Prepared Piano. Original recordings made in 2005. Edited, arranged and processed in 2014. Available as fixed media, stereo.

No value without utility

No value without utility's title alludes to the concept of Use value. I want to explore other methods of distribution and how that affects how my work is perceived. I want to actively distance myself and my artistic output from contemporary pressures to commodify all things. I feel at unease as an artist existing within a society which has been completely subdued by the failed neoliberalist experiment. I am increasingly longing to create an alternative means of existing within the system, while striving to increase the usefulness of my work to others engaged in struggle. I aim to address how scarcity is often produced and artificially upheld in commerce by creating works that offer the listener abundance at zero cost. I regard giving the music and code away as a questioning of how value is attributed to goods or services in general and works of art in particular.

The longevity of information depends on its relevance, utility, and accessibility.
 - Ray Kurzweil, The Singularity is near

Lastly nothing can have value, without being an object of utility.
 - Karl Marx, Das Kapital

Music for SuperCollider.
Download the .scd that is this piece and read more here.

A loss of self

The title alludes to a conversation I had with a colleague about the purpose of making music. We discussed what can be hoped for in terms of a best case scenario outcome from someone having heard it. To loose one's self to the act of listening. To become fully that which is attentively experiencing the music. I have increasingly felt a need to separate myself from my work. I want to give my work away and to free my music from myself. To make it free not only in a strictly monetary sense but also to make it's inner workings available and approachable. I increasingly want to steer clear of any mystery surrounding the mechanical aspects of how my music is produced. What remains should be my choices. I am at unease by how entrenched in secrecy the means of production can be. This .scd file is valuable to me. It contains solutions to problems I've encountered producing music. It represents a realization of potential. Essentially it turns my dreams into reality. I am attempting to make this .scd valuable to you as well. I hope it is of use to you, not only for its sonorous capabilities, but also as a means for you to approach SuperCollider for your own ends. It is my strong conviction that it would be wrong for me to not share this code with others. Not sharing would be a disservice to others as it would place limits on learning. On a fundamental level I feel that the only way I deserve to know anything is to share that knowledge, with everyone.

Music for SuperCollider.
Download the .scd that is this piece and read more here.

Counting semaphores

Counting semaphores is an exploration of a set of timbres and techniques. The piece is a linear sequence of actions to be performed on the Cello. Each part has a set proportion in relation to the other parts. The duration can vary between 39 minutes and 60 minutes. Everything that happens in the piece has it's origin in the Cello's lowest open string. Different modes of iteration are cascaded in layers and spatialized in the quadrophonic live electronics to deepen the sense of delving ever deeper into the Cello's lowest fundamental. This is a stereophonic version of the recording from the performance at Sonic Festival 2013.

Music for Cello and quadrophonic live electronics


Actively participate in every way possible in creating solutions to the problem of late stage capitalism's dehumanisation and destruction. Connect with others. Discuss at length. Organize. Build community. Spread knowledge. Increase awareness.

Made with TidalCycles. Published November 9, 2016
Download code.

Ruins in the distance

Ruins in the distance is my longest running project. It began as an Instrument. It has since evolved into a compositional environment. I use it every day to compose music. I compose and publish a new iteration every day.


Clearing is a rumbling, roaring declaration of love for the kind of techno that is played at secret raves, deep in forests, draped in fog, on warm summer nights. Clearing was composed as a generative four channel live performance while in residency at VICC but is also available as a fixed media stereo version.

Music for electronics.


This is a derivate work. It uses another piece of music as its source material. Using various forms of analysis I created a kind of inversion of the original. The original became a filter that I could use to create other material. In my inversion exists any variation that the original is not at that given time. From that material I then selected outcomes that I felt were favorable and assembled a library. The contents of this library where then reassembled in an order other than that of the original.

Transformations (for Jean-Baptiste Joseph Fourier)

Transformations (for Jean-Baptiste Joseph Fourier) was originally composed for Audiorama's 17.4 speaker setup. The piece had it's premiere there in 2011. This stereo version is a recomposition of the original 17 channel Audiorama mix.

Music for electronics.

A dreams passage into recollection

This piece is a patch.
This piece is a patch. Versions of any duration can be produced w/ this patch. This is an algorithmic composition meaning that a set of instructions governs the behavior of various parameters in the piece.

Music for ganular synthesis and feedback network.

Virtue and obligation

Virtue and obligation was completed in 2013 from recordings I made of bowed cymbals and prepared guitars in 2008 and again in 2009.
There are three layers: larger bowed cymbals, smaller bowed cymbals and prepared guitars. The instruments were all independently fed through the electronics, and summed to three stereo files which were then summed again to a stereo file and further processed to make the final composition. This piece represents for me a balancing of the books for a time in my life which was very densely populated by inputs, insights and impressions.

Music for bowed cymbals, prepared guitars and electronics.

Resonance patterns

Resonance patterns was originally composed in 2008 and later rearranged and remastered for NSM in Nagoya Japan where it was premiered in 2010.

Music for prepared guitar and electronics.

Observers agreeing upon object boundary change

This piece is a patch. Versions of any duration can be produced w/ this patch. This is an algorithmic composition meaning that a set of instructions governs the behavior of various parameters in the piece. This piece uses 31-TET. This is the tempered scale derived by dividing the octave into 31 equal-sized steps (equal frequency ratios).

Music for electronics.

The infinite use of finite means

This piece is to some extent a patch. Versions of a set duration can be produced w/ this patch. The idea here is that the beginning and the end as well as the duration of the piece are always the same. The larger part which is contained between the beginning and the end however is governed by means of algorithmic composition meaning that a set of instructions governs the behavior of various parameters in the piece. In my mind this piece exists simultaneously at more than one position on a continuum between through composed work and stochastically composed work.

Music for electronics.

To perceive and to respond

We have consciousness. With it we may choose to experience many different things. We can set our senses ablaze with an ever increasing amount of extremely potent sensory inputs. We are capable of profound feats of inference from even the slightest flicker of an input to our highly attuned senses. Imagination assists sight in viewing scenes at great distances. There, at that point where imagination is assisting our hearing, exists a field of great interest to me.

Music for electronics.

Longevity escape velocity

Originally composed for eight channel speaker setup. This is the fixed media stereo version. This is an algorithmic composition meaning that a set of instructions governs the behavior of various parameters in the piece. The piece offers the listener an oppourtunity to sit with the idea that we may live long enough to live forever. We are allowed some liberties. We can make choices concerning the direction we are taking in our lives that greatly influence our potential for longevity. Our priorites can be reset at any moment.

Music for electronics.

Common ownership

Common ownership is a piece of music I made using the Buchla 200 system at the Electronic Music Studio in Stockholm in 2014. Read more about my thoughts on common ownership.

Music for the larger Buchla 200 system at EMS and electronics.

- Compositions - Solo - Collaborations - Resources - Contact - Booking - Top -

Bookable Solo Acts

For contact information see below.


I am interested in this phenomena. I regard it as an inevitable outcome as we begin to unravel what it means to use a computer to make music. I am interested in how we reach an expression which is idiomatic when using a computer as an instrument in a live context. LiveCoding exists as a way for me to explore questions of this nature while at the same time encouraging others to increase computer literacy in the broadest sense. I believe computer literacy will become a larger divide in our society in the future to such a degree that no one can imagine it now.

TidalCycles - introduction workshop

TidalCycles is a mini-language embedded in Haskell (actually a delicious syntactic sugarBall written in Haskell) put together by Alex McClean and a bunch of other friendly open source folk. In a sense, it is a front-end for SuperCollider (actually a superEfficient sampler/sequencer SuperCollider patch). I was hired by Anrikningsverket to create an introductory workshop to TidalCycles which accompanied their Modul tour. The workshop material covers the basics as well as different possibilities for extendibility of TidalCycles functionality. The workshop requires three hours including communal round-robin presentation by the workshop participants. Quickly install TidalCycles here.

Ruins in the distance

Ruins in the distance is my longest running project. It began as an instrument. It has since evolved into a compositional environment. I use it every day to compose music. Ruins in the distance is also a realtime AudioVisual performance as well as an algorithmically controlled installation and a keynote presentation.

Available as:

- Compositions - Solo - Collaborations - Resources - Contact - Booking - Top -

Bookable collaborations

For contact information see below.


devv are:
Pär Lindblom - audio synthesis
Daniel M Karlsson - audio synthesis
Emy Johanna Brandt - video synthesis

Perishable Skills

Perishable Skills is an audioVisual duo where I play prepared guitar + electronics with Emy Johanna Brandt on CCTV-cameras + VHS-mixer feedback.

Katt Hernandez/Daniel M Karlsson

Violin and electronics duo. Improvised music focusing on textures, timbral transformations, densities, dynamics, interplay and juxtaposition of elements.

The Schematics

The Schematics is a band I'm in.
Katt Hernandez - Violin
Ludvig Elblaus - Electronics
Erik Blennow Calälv - BassClarinet
Daniel M Karlsson - Guitar & Electronics


- Compositions - Solo - Collaborations - Resources - Contact - Booking - Top -


A collection of resources.

Mimer Impulse Responses

This is a set of four stereo impulse responses I recorded inside Mimer which is Norbergfestival's largest stage during my stint as stageManager there.

Micro Modular Patches

A small collection of patches available for your perusal.

The smaller Buchla 200 system at EMS

A sample set made in collaboration with Mats Erlandson using the smaller Buchla 200 system at Elektronmusikstudion in Stockholm Sweden.

- Compositions - Solo - Collaborations - Resources - Contact - Booking - Top -

Contact information

Get in touch.
Read my thoughts.
Support me.

Born in 1980.
Based in Stockholm, Sweden.
Studies Electroacoustic Composition at The University College of Music in Stockholm.

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