High Priestess of the Motherbeat. Vinyl slinging since 1994. Dissolve boundaries and models. Unlock your body. Find each other.
alex@biota.agency (Alex, Worldwide)
michelle@thebunkerny.com (USA / Canada)
chanel@dawncreative.agency (Press)

XOXO <3

NA booking - michelle@thebunkerny.com
World booking - ilyas@minor-am.com
Eris Drew b2b Octo Octa - alex@biota.agency
Press - chanel@dawncreative.agency

Peach Discs / Idle Hands 
Bookings: Kim@poly.am
Noth & South America: Katharine@liaisonartists.com
Management: s@sandy-m.com emily@charm-artists.com

Lived fast. Died young. Reincarnated.
Rap-ish songs about shame, sidewalks, stilettos, substances and surviving. A Hand In The Darkness started out as English translations of Maja’s Swedish rap lyrics and grew their own life in a mix of clubby bass, experimental folk and unusual arrangements. The lyrics are about childhood memories, the gym, body parts and clothing

Loljud, who has been compared to artists like The Knife, Björk and Sia, is recognized by her cross-artistic and unpredictable approach to electronic music. As a collector of sounds she sifts through the world with a butterfly net. Water drops, radio static and alarm clocks get caught in her net. Oljud (noise), which literally can be picked from her artist name, is not only surprises that glimmer in her production, but conceptual building blocks that brings the story forward.
Vocoders, manipulated classical instruments, odd sounds sliced into beats, arpeggio synths and secretly recorded seagulls.

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Lotta Fahlén (1990) is an artist and producer based in Malmö. In addition to her solo project Loljud, she composes music for other artists and for performance art. She has been touring as Maxida Märak’s live musician and has been the supporting act for artists like Titiyo, Jenny Hval och U.S. Girls. As a co-founder of the feminist network Synth Babes, as well as a mentor in Vem Kan Bli Producent Malmö, she is committed to inspire and educate women and transgender in music production and create a greater representation.

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