Ipek Gorgun is an electronic music composer and sound artist whose work drifts between sculptural noise and luminous melodicism. After a B.A. in Political Science (Bilkent University) and an M.A. in Philosophy (Galatasaray University), she completed her PhD in Sonic Arts at Istanbul Technical University’s Center for Advanced Studies in Music (MIAM) in 2020 with her thesis focusing on temporality and temporal experience in electronic music composition. 
 

Gorgun first came to international attention when the RBMA invited her to Tokyo in 2014, where she opened Ryoji Ikeda’s Test Pattern No. 6 and joined Otomo Yoshihide for a large-ensemble improvisation. Before focusing on solo electronic work, she played bass and sang in the experimental-rock and electronic groups Bedroomdrunk, Vector Hugo, and Coquelicot (2001-2013), sharing stages with David Brown (Brazzaville) and opening for Jennifer Finch (L7) and Simon Scott (Slowdive). 
 

Gorgun’s live appearances trace a broad map of contemporary sound practice: Sónar Istanbul (2017), BBC Radio 3’s Open Ear at LSO St Luke’s (2018), and an electronic re-work of Igor Stravinsky’s Firebird on 25 channels for the Royal Philharmonic Orchestra on the Oggimusica Acousmonium in Lugano (2018) are some of her performance highlights.

Her multichannel installation Ode to Joy occupied Berlin’s vast Wasserspeicher during the Dystopie Sound Art Festival, presented by Errant Sound (2018). Subsequent festival invitations include Rewire (Den Haag), Frameworks (Munich), and DICE (Berlin) in 2019, plus Semibreve (Braga) and Inner Spaces (Milan).

 

Recent large-scale commissions extend her writing beyond electronics: Vanity (2019) for violin, piano, and live electronics premiered with members of the London Contemporary Orchestra at Kings Place, London, and Lycanthropy (2022) for Willis pipe organ, strings, and electronics debuted at Union Chapel’s Organ Reframed with James McVinnie and the LCO. 

Her music zooms in on sculpted microscopic sounds and multi-layered textures while leaving room for an atmosphere that occasionally blends into melodies, field recordings, and noise.

 

Gorgun’s releases so far include Aphelion (2016, later reissued by Touch), the duo album Perfect Lung with Ceramic TL (2017), and Ecce Homo (Touch, 2018). 

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Earthbound (Touch, 31 October 2025) marks Gorgun’s return to solo work after surviving electrocution, cancer treatment, and anaphylaxis. Composed “as a witness”, it folds memory lapses, post-pandemic observations, and geopolitical fracture into dense yet radiant sonic strata, while reaffirming her place at the ever-shifting threshold between technology, perception, and the fragile narratives of contemporary life.