Local darling Erik Klinga has spent the past year composing new material in close dialogue with LYN vokalensemble — Elin Oskarsson, Maja Kamne and Siri Anna Flensburg. His work, rooted in electroacoustic music across ambient, minimalism and restrained electronica, unfolds through texture and duration. The collaboration feels patient, shaped by listening rather than overlay.

LYN move with ease from early polyphony to Nordic vocal traditions. Their practice carries traces of Palestrina alongside pastoral calls, microtonal inflections and overtone-rich resonance. Active within the contemporary folk scene, they have collaborated with Sara Parkman and the choir Tusen Tungor, and form part of XTC in the XIV.

In Klinga’s compositions, elements of Swedish folk tonality enter an electroacoustic field of cycle and synthetic grain. Textures gather into an enveloping environment, then thin out, shift, return. The electronics ripple in their arcs; adding subtle distortions and dissonances at the edges. Within this space, LYN’s voices enter with elusive harmonic weaving and precise, expressive articulations. They navigate the circuitry with steady focus, allowing overtones to settle into the room.