Welcome to the Afterlife
»A devouring sound. Just like the entire exhibition, it elegantly addresses both the eyes and techno-loving ears.«
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»A devouring sound. Just like the entire exhibition, it elegantly addresses both the eyes and techno-loving ears.«
His playing is both minimalist and grandiose, but it’s the breaks in the composition that truly captivate me.
Over time, the album grows into a brilliant piece of contemporary art, only suffering from slightly too perfect production and somewhat grandiose gestures.
If Malkovich suddenly announced that he now wanted to sing opera, we would also buy a ticket. But how would this story of misogyny sound with the baroque music of 2024?
»Marches Rewound and Rewritten« is a seminal and important album which shines darkly in these difficult times and reminds us that everything is political – especially music.
Emma O’Halloran transforms Mark O’Halloran’s words into intimate, musical narratives, where theatre and vocal artistry merge.
This is not easy listening – we are still in free jazz territory – but there is a strangely compelling balance between chaos and restraint.
Bro and Takada listen to each other with rare intimacy, and together they have created something truly unique.
»Soft Light' has developed over many years, it sounds remarkably cohesive – like one long breath.«
»Den Stærkes Ret« is one of the most intense musical experiences I have had in years.
At Alice, Gintė Preisaitė and Drew McDowall showed how electronic music can be both unsettling and enveloping.
»The dancers in 'We Continue…' move between seaweed, drones and subtle beats, exploring how humanity goes on – even when nature revolts.«
Imagine if the texts had been carried by actual verses, hooks, and choruses – elements that might have turned them into true earworms.
On their second release »Kaikō«, Treen show how free improvisation can balance between independence and shared direction – carried by trust, gravity, and an organic flow.
»George Benjamin’s modern classic unfolds on the Old Stage as both a brutal love story and a musical paradox, where violent noise meets transparent silence.«
Deep listening and the acoustic phenology of whale song
This year’s Rued Langgaard Festival set out to open the gate to Danish mysticism, but at times disappeared itself into a haze of filler and gimmickry – though a few concerts stood strong.
»Music to me is – having spent a lot of time listening, composing, and thinking about it – still, essentially, a mystery.«
Lost Farm Festival transformed an abandoned farm into a global gathering point for grief, anger and creativity – where concerts, rituals and installations turned Sjællands Odde into a new center of the world.
Copenhagen Opera Festival 2025 turned away from opera’s classical themes of fate and instead gave space to intimate music-dramatic experiments on queer identity, domestic violence, climate crisis, and mental illness.
Music for me is a universal tool for opening myself for feelings.
Music is inseparable from listening: a close, attentive act. It’s not about beauty, truth or even intelligibility, but connection.
Struer Tracks showed that even municipal branding can open new worlds when sound art gets involved – from glitching rat voices in the basement of the music school to subwoofers that shook the harbor.
Savonlinna’s castle festival lets Finnish national opera resonate between stone, lake, and summer night – and shows how dark dramas can mirror the soul of a people.
The music is brutal, relentless. But could it have been more: more in colour, beyond the duel?