Only at the End Did the Music Break Free
It was refreshing to encounter a new work by Nick Martin – an invitation to remember at All Saints’ Day
It was refreshing to encounter a new work by Nick Martin – an invitation to remember at All Saints’ Day
An album that is far more restrained in its dramaturgy than previous releases. No less beautiful or inspiring for it
In »Tapias« Francisco Coll conjures up moments of huge harmonic strain and conscious orchestral magnificence
Mike Sheridan’s fascination with the Cristal Baschet is evident on »Touch«. Less evident is the instrument’s significance for the music that emerges from it
Marie Dahl's first independent production transforms silk, sugar and sand into refined vocal theatre, but ultimately remains a little too tightly controlled
Aros' exhibition on punk takes sound seriously. Here, noise is not a backdrop but an artistic medium.
Lotte Anker and Fred Frith met in a performance where stoic calm and frenetic guitar work fused into free improvisation of both weight and beauty.
At CC Taste, Søren Kjærgaard, Kresten Osgood and Christian Lillinger turned the restaurant into a stage for free improvisation, everyday noise and anti-furniture music.
On »Poetics of a New Estate«, Soli City dissolves the boundary between the acoustic and the digital
Simon Steen-Andersen’s portrait concert at Louisiana was an overwhelming encounter between grotesque humour, video art, and brutal reality.
Yet another fascinating piece in the puzzle of Preisaitė’s singular oeuvre
Leaving the listener uplifted by this new Northern Irish music performed by the Ulster Orchestra and the fascinating Darragh Morgan, whose deep personal dedication gives so much to the music