ABOUT

Biography

Kerem Ergener is an electronic music composer and multimedia artist based in Baton Rouge, Louisiana. He spent his formative years at the prestigious French high school Izmir Saint Joseph in Turkiye. He received his undergraduate degree at Bahçeşehir University's Mechatronics Engineering Department, where he helped establish the BAU Stanford Robotics Research Project Laboratory while researching advanced robotic applications. Then, he continued his graduate education at Istanbul Technical University MIAM and received his Master of Arts in Sonic Arts. Between 2019 and 2022, he lived in Bangkok, Thailand, where he lectured at King Mongkut's Institute of Technology Ladkrabang's Institute of Science, Music, and Engineering. He studied electronic music and composition under Reuben de Lautour, Jeremy Woodruff, Brian Raphael Nabors, Jesse Allison, and Stephen David Beck. His artistic output mainly focuses on coding-based music making, industrial music and multimedia installation using light, fog, and space. He founded the label Le Horla Records, aiming to bring out unheard avant-garde and experimental sound to listeners in 2016. He has been part of many compilations and released his solo work under his name and the synoynm Le Horla. His works have been performed internationally in concerts and conferences, including Electric LaTex, SEAMUS (The Society for Electro-Acoustic Music in the United States), and ICMC (International Computer Music Conference). He is a Ph.D. candidate in Experimental Music and Digital Media under Dr. Jesse Allison and minoring in architecture under Dr. Paul Holmquist at Louisiana State University.

FAQ

How is Kerem Ergener’s name pronounced?

In­ter­na­tional Phonetic Alphabet: [keˈɾem eɾ̞ˈɡenˈeɾ]

What are Kerem's preferred pronouns?

Kerem prefers He/Him pronouns.

How many languages does Kerem speak?

He is fluent in English, French, and Turkish. 

What is the philosophy behind Kerem's works?

Kerem's artistic philosophy revolves around the exploration of light, shadows, deconstruction, decay, the human condition, atmosphere, and loss. Rooted in both architecture and sonic arts, his works aim to create immersive experiences where the audience becomes part of the space. Using space as a vital element, Kerem integrates light, fog, and sound to shape an evocative atmosphere. His practice involves live coding tools and electronic gear, reflecting a belief that technological limitations fuel creativity. Influenced by phenomenology, as well as thinkers like Merleau-Ponty, Baudrillard, Derrida, Deleuze and Guattari, his art leans towards minimalism in design, with industrial and brutalist sonic palette.

What is Kerem's relationship with architecture?

Architecture, fashion, and design are Kerem's biggest hobbies and influences in life, which led to his graduate minor in architecture under Dr. Paul Holmquist. His PhD research is centered around the phenomenology of atmosphere and creating immersive architectural spaces through sonic means. Kerem's installation work is often categorized as architectural installations on space, atmosphere, and sound spatialization. 

What were his artistic influences?

His approach to music composition is inspired by industrial groups like Throbbing Gristle and Einstürzende Neubauten, electronic music artists like Carsten Nicolai (Alva Noto) and Mika Vainio (Pan Sonic), and composers like Morton Feldman and Julius Eastman. He follows the works of musicians from labels such as Raster-Noton, Mille Plateaux, Trente Oiseaux, Sub Rosa, and many more. 

In his personal life, he is a furniture and fashion collector. He sees design as the core element of life and the most important influence on his art. His favorite designers, architects, and fashion designers include Dieter Rams, Ludwig Mies van der Rohe, Carlo Scarpa, Peter Zumthor, Tadeo Ando, Kazuyo Sejima, Richard Serra, Diller Scofidio + Renfro, Herzog & de Meuron, Alexander McQueen, Rei Kawakubo, Jun Takahashi, Hussein Chalayan, and Martin Margiela. As an avid cinema lover, he is influenced by the works of directors like Andrei Tarkovsky, Yasujirō Ozu, Lars Von Trier, Gaspar Noe, and Wong Kar-wai. 

How can I perform one of Kerem's pieces?

In this website's catalog, you can discover which work you're interested in and either purchase or rent a copy of the score, including parts for multiple performers if necessary. 

What about the pieces involving electronics?

The electronic parts are all available upon purchase. The technical rider is provided with each score. Some performances of these pieces might require the assistance of a sound engineer expe­rienced in electroacoustic music.

How should I approach Kerem's music if I don’t have any prior knowledge of it?

You don't need any prior knowledge to approach Kerem's music. The program notes and meta information are provided in the catalog as a helpful guideline. Kerem's work is an embodied experience. This means it is best enjoyed in a concert hall (especially multichannel works) or with a good sound system with subwoofers due to the low frequency content of most works. The stereo renderings of fixed media pieces are released as compilations under the Selected Lost Works series every few years. 

What should I listen to first?

It depends on what you are looking for! If you want to dive into electronic works, check out Kerem's first album Ajirak, released under the synonym Le Horla. It is a critically acclaimed 35-minute-long ambient/noise work that would give you the best idea about his sonic world. If you want to check out his electroacoustic work, In Praise of Shadows is the way to go! This piece was performed worldwide and selected for SEAMUS CD Vol. 34, coming out this May. If you are craving something more beat-based, check out the 1/5 performance where Kerem and jazz trumpeter Kasey Ball create a fusion of jazz and electronics on stage.

What is Kerem's area of research?

He is currently focused on code-based music-making applications and the democratization of music creation. He believes different applications of coding-based music make music more accessible and equal worldwide. His graduate research topic is sound installations, the concept of space, the phenomenology of atmospheres, and wavefield synthesis. Another academic interest of his is investigating electronic music with a background in musicology, ethnomusicology, and music technologies. He studied music in different genres under this umbrella, from hip-hop to avant-garde music and published many papers on these topics.

Testimonials

"The swelling tones and glitchy textures were layered with the voices to create a unique sound not often heard in choral concerts. The whole endeavor was a great success and Kerem is a true artist. I was amazed at how he was able to manipulate the sounds of the choir while simultaneously playing them back live on stage, seconds after recording them." 

Dr. David Walters - Composer

“Kerem’s music is always entertaining, but beyond that he has a wonderful ability to collaborate with other musicians, playing to their strengths while always maintaining his own distinctive voice.”

Treya Nash, Composer

"Kerem is a force to be reckoned with in the electronic music space. His creations come from a place of deep technical knowledge, but his performance aesthetic and stage presence acumen showcase a vulnerable earthiness akin to an intimate DJ set. "

Kasey Ball - Jazz trumpeter

"I came away from this one more impressed than a lot of the ambient releases I've heard this year, even the ones I liked by artists I see as among the best in the genre. I can't imagine this being a coincidental stumbling into greatness either. I highly anticipate whatever direction Le Horla goes in next, and hopefully this record or perhaps the next will reach the ears of those who might be interested."

-Ajirak album review on RYM

"Sonicscapes that span both the dimensions of space and culture.”

-Conrad Foreman, Composer