Ash in the Ear
At Phono, Laugesen sang – yes, sang – the prose of life across a wall of sound. His voice cut in between the rumbling bass and the grit of the snare drum
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At Phono, Laugesen sang – yes, sang – the prose of life across a wall of sound. His voice cut in between the rumbling bass and the grit of the snare drum
Music is life. It contains everything and carries the strongest healing powers there is
In Niels Rønsholdt's »Country«, Jakob Kullberg meets his own manipulated double. Essay on authenticity and the voice between body and technology.
It is a testament to grief as lived experience, and as an archival bulwark, »Karakoz« thus takes part in the struggle for a free Palestine.
Music is like an extra organ through which I perceive the world
For me, music is a secret safe place. It is a refuge from society, from who you're expected to be, and from the idea of belonging.
For me, music is a journey through time; one song can send you back to a childhood summer, a packed dance floor, a breakup
In a short space of time, »Miniatures« has become a favored sonic space for this reviewer when there is a need to retreat into the chambers of the mind
Sebastian Fagerlund’s »Morgonstjärnan« transforms the novel’s existential unease into a powerful, collective musical drama.
Bent Sørensen’s »12 Nocturnes« unfold the night’s intimate piano poetry, while the piano concerto breaks the spell.
For me, music is a rush in the chest – a way of understanding and expressing emotions.
As Bertolt Brecht once wrote: »In dark times, will there also be singing? Yes · there will be singing, about the dark times.«
»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.
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.
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.
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.