Swedish multi instrumentalist and “electronician” Per Boysen is a crossover crusader that loves music, but not genres. Enthusiastic listeners have hinted at “EAM”, “Nu-Jazz”, “Psychedelic” or “Minimal” while some refer to “Sound Art”. On stage Per plays interactive electronics driven by the Alto Traverse Flute, the Tenor Sax, the Fretless Guitar, the Chapman Stick or the EWI (Electric Wind Instrument). All this as part of his self designed meta instrument; the live looping laptop to be played by foot control pedals. 　　 　　The above is also true for the Djakarta Robot Zombie album, although this material has been picked mostly for its cinematic qualities. It's all about music for film, video and games, created for the purpose of providing a convenient music solution to media producers. Many musical styles are represented and each track has been finalized with a sound design that allows sync sound and dialogue to fit in. Some pieces also work well for scene transitions or to precisely match cue points in the video timeline. 　　 　　Some press quotes: 　　“Among the many festival highlights was Swedish guitarist and flute/wood-wind player Per Boysen’s Jon Hassel-like soundscapes” (Guitar Player Magazine, USA) 　　“Per Boysen’s live looped ambience music with layers over layers of sax- and flute melodies was a real experience, and it was obvious that he is utilizing the electronics as his personal expression without being a slave to the technology.” (Smålandsposten, Sweden) 　　 　　 　　About the musical concepts behind this music: 　　 　　“Multi Lateral Improvisation as in Instant Composing” 　　 　　In jazz it is common that one musician improvises lead themes over a fixed chord structure background played by other musicians. In my music the same musician, or musicians, typically improvises both the lead themes and the chord structures at the same time. This multi lateral improvisation is made possible by advanced live-looping techniques. It is an extremely fun and intuitive way of creating music. 　　 　　Playing the music rather than the background – and vice versa… 　　 　　I think “playing the music rather than the background”, as Ornette Coleman once put it, is one side of what I’m doing. The other side is that in a certain sense I’m “exclusively playing backgrounds”. Whatever way the listener choses to interpret my music, there will always be some empty part of the screen to be filled in by the listening mind’s imagination. In my opinion this psychologic aspect of listener’s participation is a key element in “psychedelic” or “open” music. – Per Boysen