The Power of Trance: A Journey from Indonesia to Roskilde
A world so distant from the inferno of Roskilde that one can hardly see where the ends meet. But they do, that night at Roskilde.
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A world so distant from the inferno of Roskilde that one can hardly see where the ends meet. But they do, that night at Roskilde.
It is hard not to feel almost physically exhilarated by the album’s intense contrasts between presence and destruction.
On half of the tracks Hammerstrøm demonstrates that he is capable of creating truly beautiful music.
This is an album as happy to shout as it is to slither.
»The small crackling beep-sounds from the satellites’ resonance also became music.«
There is something charmingly awkward about Shibuya’s pop-infused, overdramatic compositions and the android voice’s sticky kawaii factor.
Although the many contrasts made for a rather epic concert, they also left me feeling somewhat conflicted.
If I woke up in a golden bed with a crowd of strangers around me, I would love to listen to the same soundtrack as Jeppe.
How much of the original purpose can – and should – be removed from the equation for a release in album format to make sense?
»A necessary album for anyone unafraid of the dark.«
»With a few simple means, Blaume’s debut emerges as a welcome harbinger of spring.«
With repeated listens, everything begins to make sense. Sonne’s coolly understated voice is the glue that binds the entire soundscape together.
»'Dråberne 5, 7, 8, and 11' is a seductive, inspiring, and downright sumptuous experiment in which the love between the two artists can be felt in every tone.«
»Nigma Enigma« will speak to those who can relate to the spiritual and philosophical questions Miniawy raises.
The somewhat mixed experience of the evening’s program does not change the fact that Organ Sound Art Festival is an atmospheric, ambitious festival that dares to take risks.
»Liebe« is one of those performances one feels grateful to have experienced.
»'Myriads' is better – more enriching – than any club in Aarhus’ Latin Quarter.«
I was left with a somewhat flat feeling. The piece also ended so quietly that several people were unsure whether it had actually finished and whether we could applaud.
»And that is how it sounded. Cold. Like the saddest Instagram filter imaginable – with sound.«
»It was as much the enchantment of Rumi’s poetry as the myth of the poet himself that drove the work.«
Sensitive jazz guys? Nope – suddenly Marsalis hurled himself into the seated audience with a somersault – and a scream.
For about an hour we breathed together. And it is profoundly good to do something together at a festival.
What a strange release, nostalgically so in its way. And how creative.
It is saturated, direct, and seemingly made for a grippingly intense choreography. A powerful partnership on the grand stage.
With »Music for Lovers«, the Swiss drummer and electronic musician Samuel Rohrer gets many things right. But the songwriting, unfortunately, falls short.