Copenhagen got new sounds in October 1999.

The familiar sounds of the city where renewed by Danish and international sound artists, sound poets and sound makers.

The SSSHHHHH sound biennial 1999 was the first big gathering of the sound art stage in Copenhagen, and a manifestation of an art form that's evolving rapidly both nationally and internationally.

The SSSHHHHH biennial presented sound projects of all kinds: from police cars to poets, from Internet to steel wire, from toilet flush to shopping mall, from the silence of breath and video guitars to the sound hell of speaker feedback.

The Sound biennial of SSSHHHHH also constituted an official recognition of the increasingly important scene of sound art and sound artists that work it. We thank The Development Foundation of the Danish Ministry of Cultural Affairs, The Foundation of Culture of Copenhagen, and the State Foundation of Art of Denmark for their kind support, which made SSSHHHHH 1999 possible. The originator of the SSSHHHHH project was Jørgen Teller.

Get the 1999 ssshhhhh catalogue (2,4 Mb PDF - requires Acrobat Reader).

Get the sounds for the Ssshhhhh catalogue

SOUND BIENNIAL 2001 / Sound Rave

On the Copenhagen Culture Night 2001, The Lab on Vesterbro where flooded with cascades of sound art. A broad spectrum of impulses, energies and sounds roared the building. New depths of what music can be, and even lead to, where explored this night.

All the senses where tested during the eight hour long concert program. The sound works, being performed in a space of multi speaker setups, created sound pockets in a sea of speakers.

The audience was involved in a changing course, as one concert superseded the next, while "floating" between the psychedelic islands of light and scenographic setups.

Waves went high, and it was no coincident, when it was said that this was silence...SSSHHHHH... before the storm.

The night had the following acts:

Ghostheadphones by Sune T. B. Nielsen and Tobias Kirstein.

Raz: Feeds og Beats by Rasmus Brandt
Mere kul på gas med H.C. Ørsted by Jakob Riis

DNA Thriller by Public Holiday AKA Jørgen Teller

Jakob Draminsky Højmark
Insect-Rave by Jakob Brandt-Pedersen

Kaffe Matthews
Kim Cascone
All night live VJ by Anders Elberling

The multimedia artist Anders Eberling made light in the dark with his computer generated video sequences, created for the occasion

Netstrings by Tore Bahnson & William Louis Sørensen

In-between the performances the online web installation "NetStrings" where presented by Tore Bahnson and William Louis Sørensen.

Per Buhl Acs + Razmus Brandt
Sune T. B. Nielsen & Jakob Riis
8 Danes thru to 8 speakers - 1speaker per head
Tobias Kirstein & Jakob Draminsky Højmark
Harald ME Viuff & Rasmus Bruuse Lunding


On the Copenhagen Night of Culture 11. 10. 02, The Ssshhhhh Ghetto blaster ensemble performed 6 pieces of sound art at 6 selected sites in central Copenhagen. 6 Danish sound artists had been invited to compose a piece made especially for one of the 6 selected streets and squares where the specific piece was to be performed. The pieces were in that sense site-specific and worked as reflections in sound on the various parts of Copenhagen. The sounds from the traffic and the talking pedestrians were mixed with the sinus, the drones, and the strange static of a faraway radio and all the sounds in between coming from the Ssshhhhh Ghetto blaster ensemble. Though the pieces are site-specific they can easily be altered to the new circumstances of other sites.

Musicians: Sigurd Djurhuus, Tobias Kirstein, Sune T. B. Nielsen, Steffen Leve Poulsen, Søren Raagaard, Jakob Riis, Pelle Skovmand, Peter Sørensen.

Conductor: Ture Larsen



Parkområdet foran Statens museum for kunst


by Tobias Kirstein

The sounds will blend with the everyday noise: the ongoing traffic, passers-by, the movement of the performers, the click of the ghetto blaster buttons. Maybe it will be like rain: irritatingly cold and at the same time beautiful to watch. This piece is about the space in which it can be heard.

2 Øster Voldgade v. Rosenborg Slot


A Moveable Position-oriented Soundpiece for Ghettoblaster-band

By Jakob Brandt-Pedersen

The intension of the composition is to create a soundpiece that emphasizes the site where it is performed, and that the site directs the movements in the composition, and otherwise is included in the composition by the way it reflects the sounds comming from the ghettoblasters.

During the piece the ghettoblasters move from one position to the next. These positions will be among the audience, so that they will be surrounded by sounds. The positions can be in open clusters or tight formations. The movement starts slow but during the piece the movement speeds up, so that, in the middle section, the ghetthoblasters rapidly moves to the next postion without any pause. Then the movement slows down again. The sounds from the ghettoblasters is mainly sine-waves with different frequencies. The frequencies change in the same manner as the ghettoblasters movements. The frequencies also affect each other, creating interference-frequencies.

Position was originally made for the Øster Voldgade in Copenhagen, put can be performed at any street or square. The different places can lead to new positions.

3 H.C. Andersens Boulevard v. Glyptoteket


A cacophonic sound relief

By Sune T. B. Nielsen

H.C. Andersens Boulevard is one of the places in inner Copenhagen where there is most traffic. Glyptoteket is an honourable art museum that besides some classical concerts now and then, is lying silently between sparkling Tivoli and the horns and pianos which can be heard from the windows of the Royal Academy of Music.

Here Ssshhhhh’s ghetto blaster orchestra is placed as an accelerator to accentuate an blend with the existing sounds. Sounds form cars, bicycles, traders, people partying, tooting, singing and so on are merged into a carpet of sounds to make a sound relief to the sounds already in the street. The director’s job is to sonically navigate the musicians around in the traffic in order to accentuate and reflect the intensity of the city streets which its sounds is an inseparable part of.

4 Nationalmuseets hovedindgang


Composition in 4 parts

by Jakob Riis

Condensed sounds of various epochs, handed over in distillates and concentrations, parts themselves from their source, in an exhibition for potential new insights and recognitions. Different angles of the sounds are exposed in the various parts of the composition.

5 Christiansborgs Slotsplads


by Jørgen Teller

A piece using very very very short sample-loops that, by constant prolooooooooooooooooongiiing, creates several falling drones. These travels through their own over-, sub'n'dub tones. During this the sharpest silences of the night sky will meet with the implosions of miscellaneous landing matter. At the premiere the 8 ghetto blasters were boldly used to redirect the orbit of the earth around the planet of the night.

All the sounds in this piece are based on unique recordings of sounds of the entrance and outrance of Christiansborg - the Danish parliament - and her surroundings.


Kigkurren (Sturlasgade/Snorresgade)


by William Louis Soerensen

The sound tumbled down Sturlasgade from the Bryggen at the Isle of Amager in Copenhagen. Just summer it had been, up town! Whirring, it caught sight of the ama'rkan, just landed on the island from touring the city. A cooing arose from the paving stone covered streets polished by 8 fresh ghetto blasters, walking around in the autumn with cars, busses, birds, the voices, the dreams & death !

"Ama'r" cried out the gentlewoman, "noise in your voice" called hither the gentle man, while the birds were twittering and people splashing in the new harbouring pool. The sound deaf spread! Suddenly, the late Mr. Ted, an aarhusian artist, comes balleting up Snorresgade,

Ted is back in town!

Dedicated to the artist Teddy Soerensen.

Click here to listen (Real audio stream)


by Søren 'helvildt' Raagaard

This is the third time I ask the audience - by playing a piece of music of that name. The first time it was 12 minutes long; the second time 7 minutes, and this time only 4 minutes. The peace shortens from one performance to the next, as if it tries to disappear to give way to the question itself.

"How do you like your noise?" develops into a more precise statement, and I sharpen my musical language as a sound artist.


The Sound of MouseH

by Jannick Sørensen

March 2003

Sound Memory

by Søren 'helvildt' Raagaard

February 2003

Silent Rooms

3D sound installation and artchat

by Tore Bahnson

September 2002

Minderne er skabt af dig

by Tobias Kirstein

August 2002

Når vi betragter lys og skygge

by Sune T.B. Nielsen

July 2002

play hi quality

play lo quality


by Jakob Brandt-Pedersen

May 2002

Press <C> for COMBAT

by Jakob Riis

April 2002

[Lost again (part8)]

a live and on demand monitor scan-media-mix

by Monibobtor

March 2002


by Alarm112

On the web a sound string is being strung through time and distances. The string can be played from any site in the world you turn on the computer, and a speaker is inserted into a visualizing sound environment.

On the Netstrings homepage the user can operate a series of tools that will affect the sound material. At any given moment in time, when activated, the tools will change the sound of the string on the Net into a prolongated and differently composed string, digitalized in sound and image. Hence the string will play on from this point of time until the next global user interacts with it