Picture this: a guitar that dances with magnetic liquid, a machine that turns plant whispers into symphonies, and quirky noise generators born from wood and wires – welcome to the enchanting universe of Love Hultén's latest masterpiece, WORKS II. If you're passionate about innovative design or just love the idea of music evolving beyond the ordinary, this book is your ticket to inspiration, showcasing how one artist's vision blurs the lines between art, science, and sound.
Love Hultén, the Swedish designer renowned for his handmade electronic wonders (check out more at https://www.designboom.com/tag/love-hulten/), has just unveiled WORKS II, his second comprehensive anthology. This stunning 152-page hardcover dives deep into his creative output from 2022 to 2025, spotlighting 66 unique projects. Each one masterfully fuses sound engineering, electronics, and woodworking – think custom-built instruments that feel both nostalgic and futuristic. Self-published and limited to just 600 copies, the book boasts a luxurious rayon cloth binding with elegant gold foil accents, making it a collector's dream. For those new to Hultén's world, ferrofluid, for instance, is a liquid that reacts to magnetic fields, creating rippling, otherworldly visuals – and yes, he's incorporated it into guitars and visualizers that make performances truly hypnotic.
But here's where it gets really exciting: WORKS II doesn't just catalog his inventions; it brings them to life through vivid photographs and Hultén's own handwritten notes on sketches and final builds. This personal touch offers a rare glimpse into his three-year studio journey, revealing the trial-and-error magic behind each piece. Among the highlights is the ferrofluid guitar (detailed here: https://www.designboom.com/technology/love-hulten-guitar-synth-instrument-ferrofluid-09-22-2025/), a pink noise machine – which, for beginners, generates a steady 'shhh' sound used in audio testing and music production – and the biodata synthesizer (explore more musical innovations at https://www.designboom.com/tag/musical-instruments/). A biodata synth, by the way, captures biological signals like those from plants or the human body and converts them into audible tones, turning nature into melody.
One standout collaboration? The ferrofluid visualizer Hultén debuted with Designboom at Sónar+D (learn about the event at https://www.designboom.com/tag/sonar/), a mesmerizing device that pairs sound with fluid animations, now immortalized in these pages (read the full story: https://www.designboom.com/design/synth-ferrofluid-visualizer-love-hulten-y-17-designboom-sonard-06-13-2024/). And don't miss his synthesizer featuring a mechanical MIDI crab – yes, a crab! It adds a playful, almost whimsical twist to electronic music, syncing with components like the JU06A, V256, and Oceans 11 for polyrhythmic fun. All images in the book are courtesy of Hultén himself, capturing the intricate details of these wood-and-metal marvels.
And this is the part most people miss: alongside high-tech gadgets, Hultén weaves in organic elements, like a sound sculpture adorned with a bonsai tree. It sits elegantly beside his wooden musical instruments, symbolizing a harmonious blend of the digital and the handmade. Take the biodata synthesizer Hymns from the Sun, crafted from fragrant Hinoki Cypress wood. This beauty interprets data from plants – think moisture levels or light exposure – and transforms it into ethereal sounds, almost like giving trees a voice. For example, imagine positioning sensors on a houseplant; as it 'breathes,' the synth hums in response, fostering a deeper connection to nature.
Then there's The Singer, a commission for artist Sean Mahan, built from three vintage 1970s toy sewing machines. These aren't just relics; they're reimagined with sequencers and a pull-out keyboard to create rhythmic, percussive tunes – perfect for experimental soundscapes. The pink noise lab, designed for musician Pantone Vu, combines wood and acrylic with a custom disc sequencer. A stylus glides horizontally across it, enabling precise timing control, whether synced perfectly or deliciously off-kilter, which can add unexpected textures to tracks.
Throughout WORKS II, Hultén graces each project with dedicated sections, blending imagery, technical notes, and storytelling. You'll find the mahogany Granular Beast, another biodata synth that processes sounds in tiny grains for glitchy, evolving effects. MEMTEC, his personal looper project, includes capacitive touch pins for intuitive control and a bespoke tape delay unit, evoking warm analog vibes in a digital age. There's also a modular unit driven by 17 stepper motors and a keyboard upgraded with capacitive touch – no clunky keys here, just smooth, responsive interaction. And the upright oak synthesizer on custom casters? It's a portable powerhouse, standing tall as a complete vertical system ready for any stage.
From polyphonic electroacoustic synthesizers and custom Moog Minitaurs to the EMTEC with its Pianophonic module, and even an extraterrestrial guitar spiked with ferrofluid, the book overflows with innovation. But here's where it gets controversial: in a world dominated by mass-produced digital tools, is Hultén's insistence on handmade, limited-edition craftsmanship a bold stand against disposability, or just an elitist luxury? It challenges us to rethink accessibility in art – after all, with only 600 copies and no reprints planned, as Hultén confirms, these treasures might soon be out of reach for many enthusiasts.
What do you think? Does blending biotech with music, like in the biodata synths, open doors to incredible creativity, or does it risk commodifying nature? Share your thoughts in the comments – I'd love to hear if you're team 'ferrofluid forever' or if you prefer traditional instruments. Dive into WORKS II and let Hultén's world spark your own ideas (visit https://www.lovehulten.com/ for more).
