We are SLIM0 – would you like to see our playlist?
As Bertolt Brecht once wrote: »In dark times, will there also be singing? Yes · there will be singing, about the dark times.«
Use " " to search for an exact phrase. Use AND, OR, and NOT (in caps) to refine your search.
As Bertolt Brecht once wrote: »In dark times, will there also be singing? Yes · there will be singing, about the dark times.«
Sacrum Profanum in Kraków offered intense sonic experiences and musical battles – but also performances where the idea outweighed the music.
Revivals have moved onto the agenda among Danish composers, and this month two violent operas by Matias Vestergård benefited from the trend. What is it that makes him so good at writing precisely that kind of work?
Local traditions play a central role in the second-ever Faroese opera, in which Sunleif Rasmussen reclaims a local story made famous by Wagner.
When there are two grand pianos for a concert, one of them is usually prepared. Rosenbaum had three (!) without using a single screw, coin, or ping-pong ball.
Smag På Dig Selv convincingly illustrates the age-old punk dictum that you can be angry and still have fun at the same time.
With repeated listens, everything begins to make sense. Sonne’s coolly understated voice is the glue that binds the entire soundscape together.
What a strange release, nostalgically so in its way. And how creative.
There was no affected distance or feigned coolness – only pure, unadulterated musical beauty.
For about an hour we breathed together. And it is profoundly good to do something together at a festival.
Some might have wished for a gentler entry into the musical year 2026 than a concert with Merzbow, but the concert underscored the ambitions Radar is currently pursuing.
»Light« is the perfect distillation of Mikkelborg’s musical life – a cavalcade of the qualities that have always defined him as a musician: light, colour, life, mysticism, love.
Air raid sirens, artillery, and everyday sounds have altered the city’s rhythm – and forced its residents to develop new ways of listening.
»Crooked, meandering passages and bubbling harmonies that only just brushed against a peculiar sense of tempo.«
»Kirstine Fogh Vindelev’s discreet soundscape for the power performance Animal provides much-needed breathing room in Alexandra Moltke Johansen’s dense text.«
Gently lapping, quiveringly simple, and almost self-effacingly discreet.
»Phantom Orchestra« is a dazzling, slightly mad experiment, driven by a will to create harmony in chaos.
»ELECTRIO aim to renew 'Stabat Mater' with guitar, electronics and baroque threads, but the result is too neat, too familiar, and far too painless.«
It’s a fascinating project, but what about the music? It’s a mixed experience.
Although »From Grimsby to Milan« contains a wealth of fine detail, the journey – from Grimsby in Canada to Milan in Ohio – ultimately feels long and monotonous.
Marie Koldkjær Højlund uses art, disgust, and everyday ruptures as resistance to habits, crises, and our urge to understand everything.
Music is all of life in sound.
Four Scandinavian musicians and a Canadian banjo amateur/karate instructor cross the American South to find out whether they can become a band – somewhere between Schubert, country, and doubt.
The Taiwanese-Danish percussionist Ying-Hsueh Chen explores the world’s smallest sounds – from red deer bones to roof tiles – in her pursuit of a music that is both ancient, courageous, and radically simple.
Women opera composers of the past have returned for good. But how do we break the closed circuit of opera history?