Asbjørn Blokkum Flø grew up on the island Harøya on the northwest coast of Norway. He began taking piano lessons as a child and continued with music studies at the Norwegian Academy of Music where he completed studies in composition in 1999 and a diploma Program in composition in 2006. In parallel with the music studies, he studied techniques of electronic music and sound on his own.
Flø has created a number of art installations, both alone and in collaboration with others, and has developed a natural and intuitive relationship to the balance between technology and thinking. The installation The Leap won first prize in the competition Virtual reality and traditional artistic expressions in 1998, he was composer in residence at NOTAM in 2000-2001, and was a visiting composer in the studio for electronic music at the Technische Universität Berlin in 2001-2002.
Since 1999 he has worked as a freelance composer and sound artist in Oslo, working with instrumental music, electronic music and sound art for radio and installations. Flø's work has been performed at numerous festivals, including DEAF (Dutch Electronic Arts festival), Synthése (International Festival of electronic music and sonic art - Bourges), the Ultima Festival and the Ibsen Festival in Oslo as well as having represented Norway in Ars Acustica twice.
Flø has also worked with improvisational music among other things along with Maja Ratkje and Risto Holopainen in the band (x, y, z), and central to both his improvised and written music is the exploration of the sound’s timbral intrinsic value combined with the structures of sound that forms meaning. Space is also an important aspect of his music, with significance either as a virtual space such as in the installation The Leap, or relocation of the room's acoustic characteristics and meaning as in Norway Remixed. Through this spatialization of sound his works assume a tactile, physical nature.
Flø has written music in all the traditional formats (chamber music, etc.), but the main focus has been electronic music, sound installations, non-linear time and spatial aspects. In recent years, however, the conceptual focus has shifted towards an interest in the structures of sound that generates meaning, and an interest in acoustic sound and instrumental music has been renewed. This is not, however, acoustic sound and instrumental music in the usual sense, but a form of sound art where electronic music's structural and timbral possibilities are examined in an acoustic context.