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As a film composer and sound designer graduated from both the Danish National Academy of Music and Sonic College, Josefine Skov merges sounds and music in textural and atmospheric compositions that span widely in terms of genre and dynamics. From ambient soundscapes and dreamy choir to brutal synthesizers and pulsating beats, she drifts between the acoustic and the electronic sonic worlds with an overall experimental and playful approach.
She explores alternative recording and processing techniques and often uses unusual and homemade instruments. With a background as a singer, she often uses vocal elements in her compositions, either in a classical sense or as processed manipulations.
In 2022 she released the instrumental concept album, “Kollision”. The music is an attempt to develop a cinematic and abstract story and sensuous listening experience through 7 coherent tracks that morph between electronic and acoustic music and dissolve the boundaries between music and sound design. The music received praise from Seismograf who wrote "... With its ethereal mysteriousness combined with noisy elements and heavy beats, Kollision could be the soundtrack to a David Lynch film."
She has worked as a composer and sound designer on a wide range of films, including composing the music for the docudrama series “Anker” and the graduation film “Norwegian Offspring”, which won the first price in the La Cinef competition at Cannes Film Festival in 2023. Recently she scored the feature horror film Mulm.
In 2024 she was awarded the composer talent prize from the Carl Nielsen and Anne Marie Carl-Nielsen’s Foundation and the Ekko Shortlist Award for "Best Original Music" for the film The Complaint (Sammen Er Du Mere).
In 2025 she was nominated for the Robert Award for "Best score" and the "TV2 Talent Award" at Bodil Awards for the music to the horror film "Mulm".
Currently she is building her own string instruments for an upcoming album supported by the Danish Arts Foundation.

Contact: contact@josefineskov.com
Tlf: + 45 25 32 26 42

Kara Moon invites you into a dreamy universe of sweet pop melodies and smashed electronic beats. It melts into a dark mass of synthesizers, pulsating rhythms and seductive vocal. 

Photos by: Jesper Karmark

Composer Ejnar Kanding (b. 1965) is internationally known for his unique colourful sound, where the electronic and acoustic are united in complex textures, physical energy and delicate simplicity. To him, music should not embellish, but be a realm of fantasy. A journey into the ambiguous – a hall of mirrors. Kanding originally got his degree in composition and musical theory at The Royal Danish Academy of Music in Copenhagen in 1993, followed by studies at IRCAM in Paris and with Professor Lev Koblyakov in Jerusalem in 1994 and 95, but has since his debut concert from the Royal Danish Academy of Music in 1996 specialized himself in composing music for computer and instruments. This has led to an extensive use of the software MaxMSP in the development of his works and as an instrument in live performances. Despite this obsession his focus is never the electronic experiment, but always the musical expression, form and phrase.
The way Kanding uses the digital mixing console and MaxMSP as an instrument is pioneering the new assignment as a musician which is known as live electronics or sound direction. His virtuosity in this field has led to numerous performances of own works or others of both improvised and written music with various groups, for example, works by Saariaho , Nono and Stockhausen; and ensembles as Cikada (NO), Ars Nova (SE), Jack Quartet (NYC), Transit ensemble (NYC) and Adpater (DE).

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