»Is He Going to Play Three Pianos?«
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.
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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.
»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.
»'Where to From' is a powerfully mood-saturated work that moves effortlessly between chamber music and neoclassicism.«
»Varve« is an album for those who prefer listening experiences at an unhurried pace; for those who find Hans Zimmer too grandiose.
Swedish artist Anna von Hausswolff transformed the organ’s sacred resonances into modern, pulsating stage music.
Veroníque Vaka turns monumental geological forces into beguiling music.
OperaHole nevertheless looks like a strong contender to carry on our tradition of playful underground opera.
»Eager Buyers« is captivating – even for listeners who don’t usually venture into the electronic sphere.
At Betty Nansen Theatre, Louise Alenius and Elisa Kragerup turn Selma Lagerlöf’s tragic tale into a haunting meditation on sound, silence and longing.
On »BODY« IKI turns the voice inside out and lets technology listen beneath the skin – to the point where body, circuit, and circulation become one.
»Soap Horse displayed remarkable control and a firm grasp of both their sonic universe and their audience. Perhaps all that’s left is to prove they dare to loosen their grip.«
Mesayer’s black-clad universe and Thicket’s bursts of improvised energy merged seamlessly into a community one longed to be part of.