Anton Lindström
Anton Lindström
Composer
Anton Lindström (b.1999) is a Swedish composer and musician from Göteborg, and is currently studying Composition at Högskolan för Scen och Musik in Göteborg. Aside from composition, Anton also performs primarily improvised, or pseudo-improvised electronic music on modular synthesizers as well as producing electronic music. Anton’s primary musical and aesthetic interests consist of freedom, improvisation, gestural expression, timbre and exploration of temporality. Music is an exploration and a showcase of energy and momentum. Even while faint or still, music is in constant motion and turbulence. Time cannot be frozen; every moment will pass in as short of an instant as in which it arrives. No moment is more true than any other, and none are forever. Thus no performance of music will, can - or should - be the same, as this defies an innate principle of our existence. One may choose to defy this property, composing a “hyper-precise” music as to echo a former state; or one could choose to embrace it by welcoming other moment-bound aspects into the musical framework – allowing each performance to be macroscopically unique. Performance is an innately subjective and deeply personal act and I strongly believe this should be encouraged on a scale which noticeably affects the works surface quality. My music attempts to place itself simultaneously within - and outside - of both these aforementioned realms.

I SLEEP, THEREFORE I AM I sleep, therefore I am, is based on four dreams that I have had at different times throughout my life. It attempts to showcase and describe each of these […]

I SLEEP, THEREFORE I AM
I sleep, therefore I am, is based on four dreams that I have had at different times throughout my life. It attempts to showcase and describe each of these dreams in four separate movements, in a fashion similar to how I would describe said dreams if I were to present them to someone.

Each ‘dream’ also explores different means of freedom, each of which is based on how strong my memory of said dream is. A dream I remembered more loosely will have that reflected in its musical and notated material being less certain, and more open; whilst a dream I have a clearer memory of will be notated more precisely (though still not exact – no movement will sound exactly the same every performance).

The four movements, in no particular order, described very briefly:

Machine World – Based on a recurring nightmare I had as a child, where the ground collapsed and I fell into a subterranean machine-like hellscape.

Neon Mountain – A bright, neon-colored landscape consisting of tall mountains and the pink air filled with giant bubbles.

Void – Nothingness. Emptiness. Thoughts drift quickly whilst not succumbing to any stimuli. Stillness is not still.

Shadow Dance – The same way you can mistake a tree for a creature in the darkest of nights, this dream consisted of slender, spiny, shadowy figures, partaking in an unknown ritual.