Norway’s Kim Hiorthøcon is definitely a multi-faceted designer whose work offers included painting, illustration, graphical design, film, pictures, and writing furthermore his music, which is definitely primarily electronic-based. In virtually any provided field of innovative effort, and certainly in his musical explorations, he will defy conventions and rigid meanings, acquiring an unstudied and intentionally amateurish strategy with typically inquisitive and occasionally whimsical results. Created in 1973, he researched in the Academy of ARTWORK in his indigenous Trondheim, where he started tinkering with both visual art (posting ‘zines and developing record addresses) and audio recording (initially in the school’s studio room, then buying his very own sampling apparatus.) His function in both sound and visual areas progressed pretty much in tandem. As he furthered his artwork education with stints of learning in NEW YORK and Copenhagen, he continued dabbling in these and the areas (adding film to his réamounté with many movies for the music group Motorpsycho), ultimately settling down in Oslo but carrying on to take part in nationwide and worldwide gallery displays. In the musical industry, he’s most closely connected with two extremely well known Norwegian record brands: Rune Grammofon, for whom he offers designed all the recording artwork, and Smalltown Supersound, which includes released essentially most of his documented output (and a fair quantity of his recording designs.) Conserve for any self-pressed Compact disc, Fake, that was included with his publication Without Function, a limited-edition artwork publication from 1996, his 1st accurate foray into record-making was included with a 7″ on Smalltown in 2000. Hei, his well-received full-length debut, surfaced that same 12 months, swiftly accompanied by the odds-and-ends compilation Melke. 2004 brought a disparate trio of small-scale produces; the mellow IDM from the Hopeness EP, the “acoustic sound music” of For the Girls, comprising unmodified field recordings organized without any real “musical” materials, and Live Shet, a mini-album concentrating on the greater straight-ahead, beat-driven electronica that Hiorthøy have been offering in his live pieces. My Last Time, released in 2007, was a full-fledged record of predictably unstable digital music that drew on components of the majority of his previous work. In ’09 2009 he announced the conclusion of a fresh recording project using a music group known as Drivan, a cooperation with three dancers-turned-singers from Sweden and Finland. His 2014 work Dogs was a more traditional effort, offering no sampling and mainly piano works.