Roskilde as a Battleground of Sound
Roskilde Festival insists on ecstasy and togetherness, but the most beautiful moments arise in the dark, where the curious still dare to listen.
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Roskilde Festival insists on ecstasy and togetherness, but the most beautiful moments arise in the dark, where the curious still dare to listen.
»Music is the other language – the one that can be spoken when all words and conversations have been worn to pieces.«
Like a warped, crumpled tape, melodies bubble to the surface, and the offbeat rhythms repeat with the halting tempo of a scratched LP.
»Music for me is like a sourdough. If you don't feed it right it is going to die.«
Music for me is a tool of infinite expression.
The Only Connect festival in Stavanger transformed the city into a landscape of noise, poetry and bodily vibrations.
Katsuko Tsujimura sought to dissolve the body in postwar Japan. Now, new voices are gently piecing it back together.
The MOMENTUM biennial in Moss, Norway lets sound art speak, guiding the audience into the borderlands of the senses – where even a toilet resonates like an echo chamber.
For me, music is an emotional refuge. When I sit at the piano I feel safe, it's where I can release everything I carry inside.
This year’s edition of Copenhagen’s festival for new music embraced sonic rituals, cultural encounters, and performances with loops, bodies, and cassette tapes – and featured French musicians playing as if sound itself could change the world.
At the Bergen International Festival, William Kentridge and Ryoji Ikeda let art capture what can no longer be said – only felt.
»Music is the ultimate gateway to presence, a true expression of the moment.«
At Geneva’s Archipel Festival, lost instruments and occult soundscapes are brought to life in a journey through speculative rituals and experimental music.
From seductive echoes in an abandoned yeast factory to allergy-inducing angel wings in a baroque church – Musik Installationen Nürnberg put the body in motion, but left the question of what a music installation truly is unanswered.
Music is where my heart is. The place where I feel the most freedom and possibility to express myself.
In the end, it sounds like a march that has forgotten who it was written for.
From giant flutes to performative rituals – the anniversary edition of the Aarhus-based festival unfolded the materiality of sound and musical collaboration in new forms.
Estonian Music Days revealed how a young, vocally attuned community of composers in the small country between Finland and Russia combines historical depth with freedom, resonance, and intimacy.
Music exploration and creation is not limited to notes, timbres and traditional structures, but extends to everything that shapes the listening experience.
A personal tribute by cellist Jakob Kullberg to a 92-year-old composer who never stopped listening, sharing, and laughing – turning every collaboration into an invitation to explore the unknown.
Everything should align perfectly when the multimedia duo O Future stages the descent into Hades – but it doesn’t.
Bent Sørensen’s new operatic collaboration with Jon Fosse falls short of what it might have been.
Three artists shattered the table’s constraints and gave technology a body.
At the Copenhagen Museum, the city’s forgotten soundscapes are brought to life – from street cries and gongs to nervous night sirens – in an exhibition that lets the echoes of the past resonate in present-day ears.
»A poetic and precise sonic laboratory, where music emerges in hesitation and grows like a living creature.«