XKATEDRAL DECENNALIA 2015-2025 | Inkonst + Malmö Konstmuseum
Schedule
Sat Nov 29 2025 at 02:30 pm to 11:00 pm
UTC+01:00Location
Malmö Konstmuseum | Malmö, SN
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14:30-16:30, on stage 15:00 (at Malmö Konstmuseum) + 19:00-23:00, on stage 19:30 (at Inkonst)18+ (at night show)
100/220/300:- (season pass holder combo ticket/night show ticket/combo ticket)
The Stockholm record label XKatedral celebrates its 10th anniversary with concerts at Malmö Konstmuseum & Inkonst on November 29, 2025.
This event is presented in collaboration with Inkonst, Malmö Konstmuseum and their joint event series Olibanum.
Founded in 2015 by artists Kali Malone and Maria W Horn, XKatedral began as a small tape label and concert series focused on contemporary minimalism and drone music by themselves and their peers. The early releases quickly gained an international cult following, leading the label to grow into a broader production platform. Today, XKatedral is co-managed by Mats Erlandsson, Daniel M Karlsson, Theodor Kentros, Sara Fors, and Stephen O’Malley, who collaborate on recording sessions, mixing and mastering, and bespoke artwork for the label’s releases and events.
XKatedral’s ongoing Anthology Series highlights long-form works by affiliated composers exploring slowly evolving harmonic and timbral music. The program on November 29th extends this concept into two concerts:
* Afternoon at Malmö Konstmuseum (14:30–17:00): Organ performance by Kali Malone alongside traditional Slavic folk songs sung a cappella by Ansis Bētiņš and Artūrs Čukurs.
* Evening at Inkonst (19:00–23:00): Electroacoustic performances by Maria W Horn, Mats Erlandsson, Theodor Kentros, and Daniel M Karlsson, with Stephen O’Malley DJing test pressings in the bar.
https://xkatedral.bandcamp.com
To learn more, listen back to Elektroniskt i P2 Podd #46: XKatedral
More about the artists:
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Kali Malone
https://kalimalone.bandcamp.com/
Kali Malone presents organ works from her album All Life Long on the 16th-century meantone organ at Malmö Konstmuseum with additional organ accompaniment by Stephen O’Malley.
Kali Malone is a composer and musician whose work explores the perceptual depths of sound through polyphonic structures, minimalist forms, and harmonic precision. Composing for pipe organ, chamber ensembles, choir, and electroacoustic formats, she constructs immersive pieces that unfold slowly, revealing subtle shifts in resonance, pattern, harmony, and acoustic phenomena. Born in 1994 in Denver, Colorado, Malone relocated to Stockholm at age 18 where she became involved with Elektronmusikstudion (EMS), worked as a sound engineer at the intermedia artist-run venue Fylkingen, studied electroacoustic composition at the Royal College of Music (KMH), and also interned as an organ tuner with Jan Börjeson. These experiences expanded her practice in synthesis, spatial composition, and audio production while deepening her interest in organ music, historical temperaments, and just intonation.
Malone’s albums, including The Sacrificial Code (2019), Living Torch (2022), Does Spring Hide Its Joy (2023), and All Life Long (2024), have received international acclaim. All Life Long was nominated for Best Classical Music at the 2025 Swedish Grammys. She has performed at venues and festivals worldwide, including Lincoln Center, Philharmonie de Paris, Elbphilharmonie Hamburg, Ina GRM – Radio France, Berghain, Thomaskirche Leipzig, Unsound Festival, and Berlin Atonal. In 2024, she co-composed the music with Caterina Bariberi for Massimo Bartolini’s Italian Pavilion at the Venice Biennale and scored the Louise Bourgeois retrospective at the Art Gallery of New South Wales in Sydney. Alongside her solo work, Malone is an active collaborator, working frequently with Stephen O’Malley, Lucy Railton, Caterina Barbieri, Drew McDowall, Leila Bordreuil, and numerous ensembles throughout Europe and North America.
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Ansis Bētiņš & Artūrs Čukurs
https://xkatedral.bandcamp.com/album/slavic-folk-songs
Ansis Bētiņš and Artūrs Čukurs are singers and best friends from Riga, Latvia. In their vocal duo, Ansis and Arturs are driven by their organic interest in different singing traditions of various periods, regions, and styles. At Mälmo Konsthall, the duo presents Slavic Folk Songs – a collection of songs and sacred chants from diverse Slavic regions, based on oral traditions and melodies often without authors or composers. The songs have been arranged by the duo for two voices and are performed a cappella, in various techniques, characteristic to the specific Slavic singing traditions. A path of perils, struggles and misfortunes of the world, yet full of longing, respites, fleeting moments of joy and relentless hope and love throughout.
Ansis and Arturs met when singing in a youth choir and singing together has been an integral part of their friendship. When they first came across music sung in the Slavic male tradition they were primarily struck by its power and beauty. “It touched us directly, beyond words, and made us dig for more, to dive into it and – naturally for our friendship – to experience it with our own voices.” As they started researching this vocal tradition they were taken by the incredible richness and variation found in the material – the magnificent strength, humor, wit and wisdom, hope and defiance contained within. When Russia launched the full-scale invasion of Ukraine, a number of digital archives sprung up made by dedicated people increasingly digitizing sound recordings of folk songs and early chants from the regions affected by war in order to save their rich immaterial culture from destruction. Ansis and Arturs started collecting and transcribing the melodies and texts, eventually arranging them for two voices.
Ansis Bētiņš studied academic singing and early music at the Jāzeps Vītols Latvian Academy of Music and the Luigi Cherubini Conservatory in Florence, Italy. Artūrs Čukurs has studied at the Jāzeps Vītols Latvian Academy of Music, the Royal Conservatory of The Hague, and the Theatre Faculty of the Academy of Performing Arts in Prague.
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Maria W Horn
https://mariawhorn.bandcamp.com/
Maria W Horn is a composer whose work explores the inherent spectral properties of sound. Her compositions employ a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Synthetic sound is often paired with acoustic instruments in order to extend the instruments timbral capacities with precise control of timbre, tuning and texture.
Maria combines spectral techniques and site specific source material in order to explore the inherent memories of a building, object or geographical area. In her recent compositions she uses acoustic artifacts from physical spaces to create musical frameworks for her compositions. Using these acoustic imprints as a starting point Maria weaves intricate harmonic patterns that slowly transform from intimate fragility to searing high-density aural monoliths.
Lo! The Dim Shadows of the Night is a piece for vocal duo and electroacoustic sound, originally composed for the spatial MONOM 4D-sound system. Continuing the work which was started with her 2020 piece Dies Irae, Maria uses a modified form of traditional tonal harmonic language to invoke an uncanny middle ground between the classical western polyphonic vocal tradition and contemporary electronic music.
The piece uses a mixture of algorithmically generated synthesis, created within the SuperCollider framework, and nighttime recordings of the Night Jar bird made in Skuleskogen in Marias home-region in Västernorrland, Sweden. The piece is sung by Ansis Bētiņš and Artūrs Čukurs from Riga, Latvia. The text is based on fragments from the hymn Ecce iam noctis. In addition to the fixed electronic components of the music, and the live vocal performance by Bētiņš and Čukurs, Maria joins the ensemble herself playing spatially processed pitched glasses, adding a ghostly shade to the dominant role of the human voices.
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Mats Erlandsson
https://matserlandsson.bandcamp.com/
As a composer, musician, and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman and Maria W Horn.
Utilizing synthesized and recorded analog and digital sound, contaminated field-recordings and extensive tape processing his music slowly unfolds sets of precisely tuned harmonic material while textural properties of the imaginary rooms where the music takes form shifts, shimmers and moves from sparse and open to dense and claustrophobic.
Recent releases include Gyttjans Topografi on XKatedral, Celestial Shores made together with Maria W Horn, Minnesmärke on Hallow Ground, the collaboration Glory Fades made with Yair Elazar Glotman and 4-track guitar music on XKatedral. Erlandsson has performed his work extensively at various festivals and music and arts venues around the world.
Erlandsson has performed his work extensively, at Présences Électronique hosted by the GRM in Paris, at the CTM festival in 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.
In addition to his own artistic practice, Erlandsson holds a position as studio technician at the world-renowned Elektronmusikstudion (EMS) in Stockholm and has frequently presented electroacoustic music and new music from Sweden in concert.
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Theodor Kentros
https://moloton.bandcamp.com/album/trystero
Theodor Kentros is a composer and musician based in Stockholm mostly working with the combination of electronic and acoustic instruments as well as tape loops, field recordings and sample manipulation within SuperCollider. His work has been performed internationally and in Sweden for ensemble and solo-musicians as well as live-electronics sets, in spaces ranging from club gigs, galleries and churches in the US/Europe to festivals such as Sound of Stockholm and Nonagon. Aside from his solo-practice, Kentros also writes music for film, theatre and multi-disciplinary installations, as well as being part of the drone/noise duo Sänkt. Before his debut LP Trystero which was released through Moloton this year, he’s released a selection of solo tapes, a split LP with instrumental solo pieces together with Linus Hillborg and has been featured on various compilations and anthologies, through labels such as XKatedral, Moloton and IRRLICHT.
Kentros has also been an active member of Fylkingen – the legendary artist-run society for experimental music and art – for over a decade, co-runs the label XKatedral with amongst others, Maria W Horn, Mats Erlandsson and Kali Malone, and runs his own label Kalkatraz Cassettes.
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Daniel M Karlsson
https://danielmkarlsson.bandcamp.com/album/towards-a-music-for-large-ensemble
Daniel M Karlsson is a composer focused primarily on texture and timbre.
He works extensively with algorithmic composition.
The idea of the ensemble and the dream of interplay haunt his work.
Demand all debt be forgiven.
Towards an ecological luxury library socialism for all.
Ad astra, per civitas.
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Stephen O’Malley
https://stephenomalley.bandcamp.com/album/but-remember-what-you-have-had
Stephen O’Malley is a guitarist, producer, composer, and visual artist who has conceptualized and participated in numerous drone and experimental music groups for over two decades – SUNN O))), KTL, and Khanate being among his best-known creations. Wildly prolific, O’Malley’s oeuvre is defined by its remarkable breadth, complexity and multidisciplinary interests. It includes collaborations with a wide range of experimental artists, including Scott Walker, Kali Malone, Alvin Lucier, choreographer Gisèle Vienne, the authors Dennis Cooper and Alan Moore, Peter Rehberg, Fujiko Nakaya, Jim Jarmusch, Johan Johansson, experimental music research centers IRCAM, INA-GRM (Paris), EMS (Stockholm) and many others. O’Malley is also a vigorous live performer and has toured around the world since 2000. His live performances feature a reverberating fog of electric guitar minimalism – sorcery that challenges boundaries of space and time.
Concert is NOT included in the AW25 Season Pass, but the season pass gives a 200:- discount to the combo ticket.
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Where is it happening?
Malmö Konstmuseum, Malmöhusvägen 6, SE-211 18 Malmö, Sverige, Malmö, SwedenEvent Location & Nearby Stays:
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