An exhibition of pictures and sculptures in the otherworldly atmosphere of the Ondes Martenot. By looking outward Úlfur finds creatures to inhabit his frames while Matthías finds them in the world of myth and imagination and carves them in stone. These opposite viewpoints converge in the electro-acoustic sounds of the Ondes Martenot played by Magnús Jóhann Ragnarsson.

Emma is an Icelandic atmospheric folk band. The project was created by siblings Sindri Snær Ómarsson and Breki Hrafn Halldóru Ómars as well as Ásgeir Kjartansson and Óðal Hjarn Grétu. Together they have created a diverse set of songs that aim to encapsulate different emotions. The band is known for dynamic and gripping live performances and is currently working on their first album.

Founded in 2017 to distil a murky blend of jazz and electronic music, hist og is an Icelandic trio featuring Eiríkur Orri Ólafsson on trumpet and electronics, Róberta Andersen on guitar, bass and synth, and Magnús Trygvason Eliassen on drums and percussion. Through the lens of their shared musical language, they explore a Day-Glo lit ruminative world of improvisation, jazz and electronic music.

텐거/天郷
TENGGER is a traveling musical family, made up of Pan-Asian couple, itta and Marqido, who create their brand of psychedelic New-Age drone magic through the use of harmonium, voice, and toy instruments (played by itta) and analogue synths (played by Marqido). The duo originally started out with the moniker “10” but since the birth of their son RAAI (who joins them on tour and often on stage) in 2012, have called themselves TENGGER (meaning ‘unlimited expanse of sky’ in Mongolian) to mark the expansion of the family. It also means ‘huge sea’ in Hungarian. Travel, as spiritual experience in real environments, and the sound between the space and the audience have been central themes of their works. The family’s yearly pilgrimages inform every aspect of their art.

Marey Feat.

Næstu tónleikar í Marey Feat. röðinni verða 5. júní í Mengi. Marey býður til liðs við sig gest og munu þau spila, spinna, syngja og gera alls konar tilraunir með tóna og hljóð.

Systurnar Lilja María og Anna Sóley Ásmundsdætur skipa dúóið Marey sem blandar tilraunakenndri spunatónlist við rafhljóð og ljóðalestur. Áhrifa gætir frá samtímaklassík, hljóðlist og alþýðutónlist. Lilja María spilar á hljóðskúlptúrinn Huldu, hljóðfæri sem hún hannaði sjálf, og býr til hljóðmyndir. Anna Sóley spilar á fiðlu, syngur og hannar hljóðmyndir. Árið 2025 mun dúóið halda tónleika á Íslandi, í Hollandi, Þýskalandi og Bretlandi. Þar má nefna tónlistarhátíðina Lost in the Hills og tónleikaseríur eins og Classic Jamming og Bruitkasten.

Lilja María er með doktorspróf í tónsmíðum frá City, University of London. Hún hefur skrifað fyrir ýmsa hljóðfærahópa í Evrópu og sömuleiðis komið fram sem hljóðfæraleikari með alls konar hljómsveitum. Hún er meðlimur í Hlökk en plata þeirra Hulduhljóð hlaut Kraumsverðlaunin 2019. Lilja María gaf út hljóð- og sjónlistaverkið Internal Human árið 2022 í samstarfi við dansarann Inês Zinho Pinheiro.

Anna Sóley útskrifaðist með BA próf frá ArtEZ Tónlistarháskólanum í Arnhem, BA gráðu í almennri bókmenntafræði frá Háskóla Íslands og mastersgráðu í bókmenntafræði frá Háskólanum í Utrecht. Hún sendi frá sér plötuna Modern Age Ophelia, árið 2022 og hefur komið fram víða í Evrópu bæði sem söngvari og fiðluleikari. „Tónhöfundurinn syngur á ensku og íslensku, og skilur eftir rými fyrir spuna og lýrísk ljóðræn flug,” -úr umfjöllun sem Matthieu Jouan skrifaði fyrir Citizen Jazz um Modern Age Ophelia tónleika Önnu á Jazzhátíð Reykjavíkur.

www.liljamaria.com/marey

Tónleikarnir hefjast klukkan 20:00 en hurðin opnar 19:30.
Miðaverð 2.500 kr.

///

Marey Feat.

The next concert in the Marey Feat. Series will be on the 5th of June at Mengi. Marey invites a musician to join their performance to improvise, play, sing, and experiment with sounds.

Marey plays improvised experimental music mixed with electronics and poetry, where contemporary classical music, sound art, and folk music meet. The sisters Lilja María and Anna Sóley have played together since childhood. Lilja María plays Hulda, a string instrument of her design. Anna Sóley plays the violin and sings, exploring different soundscapes and extended techniques, using her voice at times somewhere between spoken words and singing. They both design electronics, and Anna Sóley writes the poetry. This year, the duo will perform in Iceland, The Netherlands, Germany and the UK at festivals such as Lost in the Hills and various concert series, for example Classic Jamming and Bruitkasten.

Lilja María completed a PhD in composition from City, University of London. She has composed for different ensembles around Europe and performed with various groups. She is a member of the art collective Hlökk, and their album Hulduhljóð (2019) won the Kraumur Awards and was nominated for the Icelandic Music Awards. Lilja María released the audio-visual album Internal Human in 2022 in collaboration with dancer Inês Zinho Pinheiro.

Anna Sóley studied music and literature in Iceland and the Netherlands, graduating with a BA in jazz & pop vocal performance from the ArtEZ Conservatory in Arnhem and a Master's degree in literature from Utrecht University. She released her debut album, Modern Age Ophelia, in 2022. Anna has performed around Europe both as a vocalist and violinist. “Composer of the repertoire, she sings in English and Icelandic, and leaves space for moments of improvisation and poetic-lyrical flights.” —Matthieu Jouan for Citizen Jazz, writing about Anna’s Modern Age Ophelia Concert at the Reyjavík Jazz Festival.

www.liljamaria.com/marey

Wednesday, June 4th
ETIENNE NILLESEN – REIMAGINING THE SNARE DRUM
doors 19:30 / show 20:00

Etienne’s exploration of the snare drum redefines its role as a percussive instrument, transforming
it into a self-contained harmonic and melodic entity. His work is not merely an expansion of
technique but a fundamental reassessment of the drum’s sonic architecture, probing the
relationships between materiality, resonance, and perception.

At the core of his practice is an intimate engagement with resonance, treating the drumhead as a
dynamic surface that contains a latent field of overtones and microtonal interactions. Through
circular motions, variable pressure control, and precise manipulation of contact points, he
accesses a vast spectrum of pitches, harmonics, and sustained sonorities that are typically
obscured in conventional drumming. His snare drums, tuned a semitone apart, create a harmonic
framework where sympathetic resonances and interference patterns emerge, forming an evolving
tonal landscape that is as much about pitch as it is about texture.

The rhythmic dimension of his playing is equally unconventional. Rather than relying on fixed
pulse structures, he generates rhythmic flow through friction, tension, and gradual
transformation, where changes in speed, pressure, and angle modulate the sound field in real
time. This approach results in a music that is less about attack and more about sustain, less about
percussive impact and more about timbral evolution. In this way, his snare drums function as
resonant objects in constant flux, where rhythm emerges as a secondary consequence of
harmonic activity.

Nillesen’s work is deeply rooted in a minimalist aesthetic, yet it resists the stasis often associated
with minimalism. Instead of looping structures or static repetitions, he focuses on gradual
variations in overtone complexity—where microtonal beating, phase shifts, and unstable
resonances create a sense of organic, evolving motion. His use of extended duration is not about
endurance, but about cultivating a heightened perception of sonic detail, where the ear adjusts
to subtle fluctuations in frequency, dynamic weight, and spatial diffusion.

His performances blur the boundary between composition and improvisation, not in the sense of
balancing pre-determined form with spontaneity, but in that form itself emerges from the real-
time negotiation of sonic possibilities. Each performance is an act of deep listening—to the
instrument, the space, and the moment. The drum is not simply played—it becomes a resonant
entity that speaks through touch.

Through this intimate process of sonic excavation, Nillesen’s work challenges conventional
notions of percussion, creating a listening experience that is both immersive and forensic, where
every gesture is magnified, every resonance is consequential, and every shift in pressure reveals
new sonic terrain.

Info TBA

Info TBA

Saturday, May 24th
MEMLNauts: Musically Embodied Machine Learning Project
doors 19:30 / show 20:00
2.500kr / 2.000 for students

MEMLNauts:
Tom Manoury
Andrea Martelloni
Betty Accorsi
Thor Magnusson
Chris Kiefer

A collection of improvised performances from participants in the Musically Embodied Machine Learning project (MEML). We are exploring the concept of building new hybrid musical instruments with embedded machine learning. Embedded machine learning empowers musicians to find new performance approaches, by sharing control with often unpredictable and lively algorithms within the instrument. We will present performances with a variety of machine learning augmented acoustics instruments, in solo and group improvisations.

Tom Manoury

Tom Manoury is a French/Icelandic musician. He grew up in Paris and lived in Brussels for many years before moving to Reykjavik. Mostly self taught, he plays all kinds of wind instruments such as saxophones, euphonium, harmonica, and many others. He also sings and masters overtone and throat singing. Aside from his career as an instrumentalist and composer, Tom´s been doing electronic music and programming for over 20 years. He develops interactive tools and intuitive interfaces aimed at multimedia live performances and realtime processing.

He occasionally integrates live visuals to his performances. He is also into DIY and builds all kinds of stuff, using any kind of materials. Among other passions in his life are photography, cooking and watchmaking

Andrea Martelloni

Andrea Martelloni is a guitar player, composer, producer and researcher in digital musical instruments, with a PhD from Queen Mary University of London. His research includes work on the HITar and the field of gesture recognition applied to expressive digital musical instruments. He is also part of the Musically Embodied Machine Learning project at the University of Sussex, where he develops interfaces for the seamless integration of artificial intelligence in musical instruments. He has been playing guitar for over twenty years, studying at the Centro Professione Musica in Milan in his teenage. He is an active session musician in the South East of England. His current main project is Sloth In The City with wife and saxophonist Betty Accorsi. Other projects include solo guitar act Virgult, jazz guitar (Betty Accorsi Quartet, Madz and the Martians), pop (Miss and the Demeanors), folk (Monkey See Monkey Do, Hilltop Ceilidh Band).

Betty Accorsi

Betty Accorsi is multi-instrumentalist and composer. She studied classical saxophone, piano and composition at the Giuseppe Verdi Conservatoire in Milan, before moving to London and starting an MMus in Jazz Saxophone at Trinity Laban Conservatoire and a Master's degree in Performance at Goldsmiths under the guidance of Mick Foster, Paul Bartholomew and Dr Pete Furniss. She is currently the leader of two projects active in England: One is an acoustic duo called Sloth in the City, formed in 2018 with percussive acoustic guitar player Andrea Martelloni. Her main project is the Betty Accorsi Quartet. This was founded with pianist Finn Carter and drummer Scott MacDonald. In December 2020 they released “The Cutty Sark Suite”, an album of compositions blending Wayne Shorter, folk and punk. Their second album “Growing Roots” was released on the 15th July 2022 featuring pianist Daniel Hewson (Groove Armada, Madonna, Incognito), Scott MacDonald on drums and Andy Hamill on bass.

Thor Magnusson

Thor Magnusson has worked in the intersecting areas of music, technology and philosophy in the past decades. He has created a few live coding environments for improvisational musical performance with code as compositional material. He is a member of the Intelligent Instruments Lab which is one of Reykjavik’s breweries for new musical instruments design. Thor is also member of the Brain Dead Ensemble, the most dangerous sonic dynamite collective that sometimes surfaces on the radars of contemporary music.

Chris Kiefer

Chris Kiefer is a computer-musician and musical instrument designer from Brighton UK, where we works in the University of Sussex Experimental Music Technologies Lab. He performs and records with custom-made instruments, exploring lively algorithms and feedback processes. As a live coder and solo-feedback musician he performs under the name ‘Luuma’, with a recent release 'Ffroeds' on the Flaming Pines label. He plays an augmented self-resonating cello as half of improv-duo Feedback Cell, and with the feedback-drone-quartet ‘Brain Dead Ensemble’.

https://luuma.net/pages/listen/
https://thormagnusson.github.io/
https://www.bettyaccorsi.com/

Friday, May 23rd
Bróðir BIG Trio
Bróðir BIG Trio Emcee/producer/DJ Bróðir BIG hefur sett saman litla hljómsveit, Bróðir BIG Trio. Hljómsveitina skipa Bróðir BIG, Haraldur Ægir Guðmundsson og Arnljótur Sigurðsson. Haraldur spilar á bassa, bæði rafmagns- og kontrabassa, og Arnljótur spilar á þverflautu og syntha. Bróðir BIG sér um raddir, skífuskank og undirleik í formi trommutakta sem Trio-ið spilar yfir. Birkir Kristján Guðmundsson, eða Bróðir BIG, hefur verið að gefa út tónlist síðan 2015 en hefur verið að koma fram sem rappari allt síðan 2009. Platan Hrátt Hljóð kom út 2017 og platan Með Enga Tengingu við Tíðarandann kom út 2020. Ekkert hefur komið út í fjögur ár frá honum og hefur hann lítið komið fram undanfarið en ný tónlist er í vinnslu eftir tímabil af óvirkni vegna annarra verkefna. Bróðir BIG Trio verður live í Mengi föstudaginn 23. maí nk. og má nálgast miða…

More info TBA

DUE TO UNFORESEEN CIRUMSTANCES, THIS CONCERT HAS BEEN CANCELLED

Derek Piotr is a folklorist, researcher and performer whose work focuses primarily on the human voice. His work covers practices including fieldwork, vocal performance, preservation and autoethnography; and is primarily concerned with tenderness, fragility, beauty and brutality. He has collaborated with artists including Scott Solter, Nathan Salsburg and Thomas Brinkmann across various disciplines.
He is lead archivist and creative director of the Fieldwork Archive.

More info TBA

Nico Moreaux Quartet

Nicolas Moreaux : double bass
Oskar Guðjónsson : saxophones
Hilmar Jenson : guitar
Scott Mclemore : drums

The band will perfom Nico´s new original compositions, written recently as well a few standards and Jon Muli´s tunes. 

The band has his own way to approach compositions, inventing fresh new lines and beats to the tunes on the moment.  

A band of improvisers that play music with looseness and flow.

Active on the international jazz scene and icelandic resident, Nico had played and recorded with famous names like Chris Cheek, Tigran Hamasyan, Bill McHenry among others.

Moritz Christiansen Trio consists of saxophonist Moritz Christiansen (DE), bassist Krzysztof Maciejko (PL), and drummer Marcus Kendellen (DK/IR), who met in 2022 at the music conservatory in Aalborg. Their music is characterized by improvisation and the diverse backgrounds of the band members.

Moritz Christiansen, who currently lives in Reykjavík, composes the music and strives to merge various influences from his musical journey so far, which has taken him from Northern Germany through Northern Denmark to Iceland. The music plays with the contrast between lyrical, melodic soundscapes and energetic, improvisational dialogues and is clearly inspired by bands like Jim Black's Alas No Axis and Paul Motian Trio.

Saturday, April 26th, 2025
Harp & Arp
Katie Buckley: harp
Jesper Pedersen: synthesizers
doors 19:30 / show 20:00
2.500kr

Harp & Arp is one of several bands existing in the collective imagination of harpist Katie Buckley and synthesist Jesper Pedersen. Together they perform imaginary music on processed harp and synthesizer. The music of Harp & Arp is a created in the moment as a deep-felt conversation between the two performers. The outcome is on the ambient spectrum with a focus on both tonal structures as well as abstract sonic journeys and textures. Harp & Arp released the EP “The Shortest Day” in 2021 and is working on a full length album.
Harp & Arp was part of Mengi's curated program as a concert promoter for the Nordic Culture Fund’s Puls project in 2020 and has performed on Extreme Chill, Sunnuhvoll Music Festival, Nick’s Virtual Garage, Tranum Strandgård Art and Culture Center and the S27 concert series to name a few.

Friday, April 25th, 2025
Sandrayati
doors 19:30 / show 20:00

Join Sandrayati for an intimate evening sharing new and old songs

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Inviting listeners into the space between a breath and a
sound, Sandrayati's music calls us forward to a world that is
more enchanted than the one we see and more connected
than the one we feel. Raised on the islands of Java and Bali,
with Filipino/American heritage, Sandrayati was born into a
tradition of folk music and activism, her vast cultural
background draws audiences not only into herself but into
one another. She asks us to open the spaces within and
collapse the spaces between–a reminder of our shared
inheritance on a shared planet.

Hailed as a Sunday Times Breaking Act, Sandrayati has
toured with RY X and Nick Mulvey, and Ghostly Kisses in
Europe and the UK (NME) and has performed at The Great
Escape (UK), and Iceland Airwaves. Her 2023 debut album,
“Safe Ground,” produced by Ólafur Arnalds and released on
Decca Records, centres around the tension between
migration and stillness: how cultures and landscapes become
the essences and ornaments of ourselves.

With melodies midwifed from dreams into waking life, the
album blossoms with the quiet exuberance of a flower
transplanted. Sandrayati’s voice is as light and as strong as a
strand of spider silk sung by the wind. As it floats above the
delicate, tentative accompaniments, we hear her come into
being–sifting herself out from inexorable currents, matching a
quiet faith against honest uncertainty.

Traveling alongside this new self formed from fragments of
pasts and no-longer-futures is a determined call to care for
the natural world and to embrace the interconnectedness of
all existence. Throughout her work here and elsewhere, Sandrayati pays homage to those she’s known and not known who have laboured to protect both the surface and the soul of the land. She is currently recording her next album in Iceland where she is now based, that will come into the world in four waves in 2025.

Skerpla Ensemble: Greatest Hits
doors 19:30 / show 20:00
2.500kr

Program TBA

Founded in 2018, Skerpla is Iceland University of the Arts' Experimental Music Ensemble. Skerpla explores, creates and performs music in the expanded field. Skerpla is led by Berglind María Tómasdóttir, professor at Iceland University of the Arts and John McCowen part-time teacher at Iceland University of the Arts.

Night of Improvised Music:
Skúli Sverrisson - bass
Björg Brjánsdóttir - flutes
Stirnir Kjartansson - guitar
John McCowen - clarinets/recorders

doors 19:30 / show 20:00
2.500kr / pay what u can

Páll Ragnar Pálsson & Tui Hirv
doors 19:30 / show 20:00
2.500kr

Páll Ragnar og Tui ólust upp í sitthvorum heiminum, hann í íslensku rokksenunni með öllu því frelsi og leikgleði sem henni fylgdi, og hún í strang-akademísku skólakerfi Eistlands og kórmenningu. Leiðir þeirra lágu saman í tónlistarakademíunni í Tallinn og hafa síðan þá unnið saman að listsköpun, þar sem Tui hefur flutt tónverk Páls t.d með kammersveitum bæði hér og erlendis.
Þegar þau koma fram sem dúó nálgast þau tónlistina með allt öðru sniði. Þar flytja þau lög úr ýmsum áttum, hvort sem það eru þjóðlög eða gömul dægurlög, og matreiða eftir sínu eigin höfði. Ólíkur bakgrunnur þeirra og nálgun á tónlistina skapar þannig nýjan hljóðheim. Sköpunarferlinu má lýsa sem einskonar heimilislegu gramsi, lágstemmdu og leikandi, sem þau svo taka með sér á svið. Hráefnin eru einföld, gítar og rödd. En Páll Ragnar og Tui nota þau í víðu samhengi og bjóða upp á óvænta upplifun gerða af smekkvísi og næmni.
Dúettinn hefur troðið víða upp í gegnum tíðina, t.d. á Hótel Flatey, Norræna húsinu, 12 Tónum, Havarí á Karlsstöðum, Gljúfrasteini, Skálholti og við ýmsar samkomur svo sem heimsóknir eistneskra þjóðhöfðingja eða stjórmálamanna í ráðherrabústaðnum.

Síðustu misserin hafa Páll Ragnar og Tui unnið að dagskrá með lögum sem tengjast vetrartíðinni. Lögin koma úr ólíkum svæðum og tímabilum en öll frá norðurhveli jarðar. Þau eru mestmegnis skandinavísk og ensk en teygja sig líka yfir Eystrasaltið til baltnesku landanna. Öll eiga lögin það sameiginlegt að fanga þennan sérstaka árstíma og þau áhrif sem hann hefur á okkur. Segja má að Páll Ragnar og Tui séu að heimsækja fortíðina og velta því fyrir sér hvað það þýði að búa hér á hjara veraldar.
Dagskráin er öll síðan fléttuð saman með frásögn af tónlistinni, lýsingum á uppruna hennar og hvernig hún barst til eyrna Páls og Tui. Þannig gefa þau tónleikunum persónulegt yfirbragð og húmorinn er aldrei langt undan.

Spotify:
https://open.spotify.com/artist/3pXEHfG3BGgOiNmsKESoee...

https://www.facebook.com/pallragnarpalssoncomposer

https://www.facebook.com/tuihirvreykjavik

English:

Páll Ragnar and Tui grew up in different worlds, he in the Icelandic rock scene with all the freedom and playfulness that came with it, and she in the strict academic school system of Estonia and choral culture. Their paths crossed in Tallinn, at the Estonian Academy of Music and Theatre. Since then have worked together on artistic creation, where Tui has performed Páll's compositions, mostly with chamber ensembles both here and abroad.
When they perform as a duo, they approach music in a completely different way. There they perform songs from various genres, whether they are authentic folk songs or just old popular songs, and serve them according to their own ideas on music. Their different backgrounds and approaches thus create a new sound world.

In recent seasons, Páll Ragnar and Tui have worked on a program with songs related to the winter season. The songs come from different regions and periods, but all from the northern hemisphere. They are mostly Scandinavian and English, but also stretch across the Baltic Sea to the Baltic countries. All the songs have one thing in common: capturing this special time of year and the effect it has on us. It can be said that Páll Ragnar and Tui are visiting the past and wondering what it means to live here at the edge of the world.
The entire program is then interwoven with a narrative of the music, descriptions of its origin and how it reached the ears of Páll and Tui. In this way, they give the concert a personal touch and humor is never far away.

Úlfur Hansson
Tóti Guðnason
Þorsteinn Eyfjörð
doors 19:30 / show 20:00
2.500kr

Úlfur: 

Úlfur Hansson is a composer, music producer, and electronic musician. He has released four solo records that feature intricate string arrangements, electronic textures, and concrete sounds. 

Úlfur’s collaborations with musicians and visual artists such as Jónsi, Hildur Guðnadottir, Dustin O'Halloran, Anna Von Hauswolff, Skúli Sverrisson, Zeena Parkins, Alex Somers, Bendik Giske, Ólafur Elíasson, Roni Horn, and Elín Hansdóttir have allowed him to create soundscapes that are both innovative and evocative.

Úlfur’s work has been commissioned by prominent musicians such as The Icelandic Symphonic Orchestra, Nordic Affect, and L'Orchestre De Radio France. 

Tóti Guðna: 

Tóti Guðnason is a composer and guitarist, known as a member of Agent Fresco and for his work in film and immersive music. After several years away from the stage, he returns for a rare performance at Mengi, his first live appearance since 2020.

In recent years, Tóti has focused on composing music for films such as Lamb (2021), Cold Copy (2023), and the Italian series The Art of Joy (2025), as well as creating a sound installation for the ABBA Voyage venue in London. This performance marks a quiet shift, an experiment in vulnerability and presence. Using guitars and electronics, he creates textured sounds in real time, inviting the audience into a space that is both personal and meditative.

Þorsteinn Eyfjörð:

Þorsteinn Eyfjörð Þórarinsson is an Icelandic artist currently living in Reykjavik, Iceland. With a starting point in sound, Þorsteinn’s work builds on its ability to engage with people through the physical and the emotional simultaneously. His work researches spatial resonance in dialogue with human and natural environments, and how sonic sensations and auditory memory can distort time.

GARGAN + Mandolin Duo
doors 19:30 / show 20:00
2.500kr

GARGAN

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Gargan er tilrauna-rafdúó skipað Bergþóru Kristbergsdóttur og Huldu Ragnhildi Hjálmarsdóttur. Þær sameinuðu krafta sína á veraldarvefnum fyrir rúmu ári síðan - á meðn Hulda var í skiptinámi í Finnlandi og Bergþóra að útskrifast úr Nýmiðlabraut á Íslandi. Í gegnum fjarsamskiptin varð Gargan til -  eins konar griðastaður fyrir þreytta og duglega hljóðfæraleikara og raftónlistarmenn sem spýta úr sér ýmis konar hljóðum og óhljóðum.  

Bergþóra og Hulda vinna úr hljóðupptökum úr umhverfinu, endurvinna hljóð úr klarinetti og skapa óhljóð. Þær forrita, nota hljóðgervla, heimilisáhöld og alls kyns fleira sem þeim dettur í hug. 

———-

Gargan is an experimental electronic duo composed of Bergþóra Kristbergsdóttir and Hulda Ragnhildur Hjálmarsdóttir. They joined forces online over a year ago – while Hulda was on an exchange program in Finland and Bergþóra was graduating from the New Media program in Iceland.

Through long-distance collaboration, Gargan was born – a kind of sanctuary for weary yet obsessed instrumentalists and electronic musicians who unleash all sorts of sounds and noises.

Bergþóra and Hulda work with field recordings, repurpose sounds from the clarinet, and create noise. They program, use synthesizers, household objects, and anything else that comes to mind.

Margrét Helga Snorradóttir og Víf Ásdísar Svansbur leika á mondolin (play the mandolin).