Erik Nyström is a composer whose output includes electroacoustic works, live computer music, and sound installations. The majority of his works are created for multichannel sound projection, and among the recurring interests in his practice are synthetic sound, algorithmic and generative systems, spatial texture, posthumanism, and acousmatic, visual and physical listening experiences. He also writes on topics related to these themes.

Nyström performs his music internationally and recent appearances include City Summer Sounds 2023 (London), BEAST FEaST 2022 (Birmingham), AIMC 2021 (Graz, Austria), NIME 2020 (Birmingham) Ars Electronica Festival 2019 (Linz, Austria), NEXT Festival 2019 (Bratislava, Slovakia), Influx 2019 (Brussels, Belgium). During 2019 he was also involved in CECIA (Collaborative Electroacoustic Composition with Intelligent Agents), a collaborative project hosted by ZKM (Karlsruhe). His music is released on empreintes DIGITALes and his writings have appeared in Organised Sound, EContact!, ICMC and NIME proceedings.

He is a Lecturer in Music at City, University of London, and was previously a Leverhulme Research Fellow at BEAST (Birmingham Electroacoustic Sound Theatre), University of Birmingham, where he did a project on live performance, algorithmic processes and synthesis in multichannel music, involving machine learning and other models.

Nyström studied electroacoustic composition with Denis Smalley at City, University of London, completing a Masters degree in 2008 and a PhD in 2013. Prior to this (2006-7) he attended the Computer Music course at CCMIX (Centre de Creation Musicale Iannis Xenakis) during which he received influential composition tuition from Gerard Pape and had many formative experiences taking master classes with visiting lecturers including Curtis Roads, Trevor Wishart, Jean-Claude Risset, Ana-Maria Avram and Iancu Dumitrescu, and Agostino di Scipio.