Short profile for Jakob Draminsky Højmark
Danish musician and composer with an special interest in stagemusic, electroacustics, musique concréte, intermedia, improvisation and microtuning.
During the 1990s Draminsky Højmark appeared frequently as side-man for French toypiano-icon Pascal Comelade as well as performing his own solo concerts for bass-clarinet, sopranino saxophone and computer (MAX) or – lately with melodion and floor electronics.
Parallel with this he developed a series of live concrete-sounds projects based on minor and medium size construction machinery or kitchen equipment and wrote seven chamber operas preformed in collaboration with Danish Musikteatret Undergrunden and writer Peter Laugesen, Catalan poet Enric Casassas, the Japanese Noh ensemble, Ryokusenkai and others.
He has done soundtracks for theatre-, dance-, videoproductions and released eighth CDs in his own name. He has also written for classical chamber ensembles and worked with public acousmatic multichannel systems, exploring the interaction between digital manipulations of the human voice and everyday life.
Between 1990 and 2007 he was part of the experimental music scene in Barcelona, always engaged in collaborations with artist and musicians around the globe like trumpeter Mark Cunningham (Aleatory Grammar), drummers Sawada (TONEGÄNGER) and Itoken, guitarist Jørgen Teller (Tzarina Q Cut) bassist Henrik Olafsson (Blæst&Bue), or fluxus-artist Eric Andersen (Margrethe Fjorden).
In 2014 he obtained a MA in Japanese Studies from University of Copenhagen with a focus on cultural related narratives in technology.
Since 2016 Draminsky is again back to investigations of the relation between sound and image, introducing, among others of series of performances with live music for Danish silent movies under the catchphrase: Slow Sounds For A Busy World and the idea of MovieOnics.
Click here for an overview of his activities since 2000.