Emily Adomah is a singer, composer, and producer with a degree in Classical Vocal Performance from the Norwegian Academy of Music and a specialised master’s degree in Contemporary Music, Sound Design, and Improvisation from the University of Music in Basel. She works with voice, composition, and sound across different formats, exploring how these elements can intersect in concert, installation, and performance contexts. Her artistic work includes, among other projects, an artist residency at Bergen Center for Electronic Arts (BEK), works for EKKO’s Sense of Place series, as well as working on productions as a composer and sound designer at Det Vestnorske Teateret (Hekken, 2026) and Det Norske Teatret (SUKKER, 2025).

I consider myself first and foremost a singer. The voice is my most important instrument, and I am fascinated by how it can tell stories through text, timbre, tone, phrasing, and breath. As a singer, I have formal training from the Norwegian Academy of Music and the University of Music in Basel, with many hours devoted to vocal technique and craft. At the same time, my joy in music has unfolded through countless hours at the piano at home, covering pop songs, playing around with the keys, exploring harmonies, and experimenting. Between my studies, I also taught myself Ableton Live, allowing me to bring my own song ideas to life and explore the form and sound of my own musical voice.

Over time, I realised that this exploration was not about moving away from singing, but about expanding it. It is at the intersection of voice, composition, and production that I feel most curious today. I look forward to all the input from the mentors and musicians during Borealis Young Composers. I believe I will be a better composer on the other side.

Mikael Maliks is a composer and organist, and is currently studying composition at the Grieg Academy. He previously completed a bachelor’s degree in church music and a bachelor’s degree in art history at NTNU. With a background as an organist, improvisation and unconventional approaches to timbre and form are central starting points in his work. He is particularly interested in how the voice can leave traces in instrumental music, and how prosody (rhythm, emphasis, and intonation) can serve as a starting point for both consonant and conflicting musical movements and processes. As a composer, he has written works for a wide range of ensembles and formats, including chamber ensembles, choir, organ, solo voice, and electronics, and his works have been performed and premiered in Norway and internationally, including World Music Days in the Faroe Islands, and at the festival “Marginale II” in Italy.

Currently, I am working on transferring electronic spectral processes into organic sonic worlds, including through ideas inspired by “acoustic equalisation.” At the same time, I like to leave room for intuition and allow the music to find new directions along the way, even when it moves away from the original plan.

Alongside music, I work with photography, drawing, painting, and poetry. I am often drawn to the imperfect and the broken. I find that these forms of expression inevitably influence one another deeply in what I create. Otherwise, I enjoy running, acting in films, and jamming on the harpsichord with my partner, who plays the lute and theorbo.

Peder Narum is a drummer and composer with a bachelor’s degree in Performance – Rhythmic Music from the University of Agder. He is active as a freelance musician and performs in various bands and projects, including Bresk and I Love You Love, which have performed at festivals such as Canal Street, Innpuls Festivalen, and Kongsberg Jazz Festival.
Through his work with improvisation, he has developed a compositional practice in which rhythms, timbres, and musical ideas from the drum kit and percussion are transformed and further developed into compositions for various instruments and ensembles.

I am a drummer and have played in various bands and ensembles across a wide range of genres, from rock and blues to free jazz and ambient music. Creativity is an important part of my everyday life, and music is what I find most fun and inspiring. One of the things I enjoy most about working with music is all the talented and wonderful people I get to meet and collaborate with. It is always incredibly rewarding and enriching. I am very excited to be part of the BUK mentorship programme and to compose music for such a great festival as Borealis. I am really looking forward to it.

Victoria Nunes Finstad is a composer completing her master’s degree in composition at the Norwegian Academy of Music (NMH) in 2026. In her compositional work, she is interested in structures and relationships, with a particular focus on modularity, transcription, translation, and transformation. Her works have been performed by the Oslo Philharmonic, among others, and at festivals including Only Connect, Ultima Oslo Contemporary Music Festival, Klang Festival, and Nordsjø Chamber Music Festival.

I am a composer working with art music, both independently and in collaboration with other composers and artists. I am curious about how to create music that is in a state of constant becoming, which leads me to compose modular works with shifting relationships between sections. In my compositions, I draw inspiration from phenomena in nature and everyday life. I am particularly interested in sounds and qualities that we take for granted, that are hidden, or that we forget exist around us.