Send us a Text Message.What if you could blend the haunting echoes of history with cutting-edge electronic music? This week, Swedish composer Maria W. Horn reveals the secrets behind her spectralist compositions. We delve into her latest album, "Panoptikon," and how she seamlessly integrates ghostly choirs and recordings from an abandoned Swedish prison to evoke emotions that are both eerie and deeply human. Maria's background growing up in a remote Swedish area plays a significant role in her creative process, offering a unique perspective on the importance of community for artists.Maria shares invaluable insights on developing a unique voice, free from external pressures, and the benefits of embracing mistakes and uncertainties. She uses tools like SuperCollider to add an element of unpredictability to her work.Our discussion takes a fascinating turn as Maria describes her site-specific sound art projects, particularly her installation in Sweden's only panoptic prison. The emotional resonance of the prison's history inspired her to create an imaginary prison choir, combining sound and light to evoke the cycle of daylight and lamenting voices. Maria also opens up about her creative routines, the impact of COVID-19 on her life, and offers heartfelt advice to young artists. Trusting one's instincts, valuing friendships, and courageously releasing work independently emerge as key takeaways from our conversation.Panoptikon is available now, listen an buy on BandcampTo let us know the artists you’d like to hear, send us an email or even a letter. We’d love to hear! Follow Paul Hanford on InstagramLost and Sound is proudly sponsored by Audio-TechnicaPaul’s debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins