Spor Festival at Twenty: the Eternal Play of Sound
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.
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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.«
In Reykjavík, snow falls sideways, and sorrowful reindeer sing. Dark Music Days unfolds the winter darkness in experimental tones where silence and noise meet – and even a harp made of yarn tells stories.
The 30th edition of Spot Festival became a sonic laboratory and cultural mirror, where experimentation, genre-defying music, and raw emotional intensity were given free rein.
After a brutal depression, Warren Ellis returns with renewed strength – and deep gratitude. The 60-year-old Australian multi-instrumentalist opens up about pain, love, animals, creativity, and Nina Simone’s sacred chewing gum.
Every moment is nothing but the uttermost end of the past. Music makes this edge wide and beautiful.
At the Jazzkaar Festival in Tallinn, improvisation and reflection meet in a landscape shaped by historical fault lines, westward gazes, and hopes for the future.
Peter Ablinger has died. Yet his work continues to open our senses to the impossible: to hear hearing itself.
Music is not just sounds, but a vain attempt to capture the infinite, which has always been and always will be.
»Music is hope, confusion, and memory talking with each other, leading us toward futures we haven't yet imagined.«
Music like sex are means of communication, people come into contact and negotiate with each other and their instruments/tools and meet themselves in it.
Music to me is… my work. I've landed in the best job in the world, where a core task is to discover new music, to learn its internal logic and aesthetics, who created it, and why.
Music is the fanciest way of communication.
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.
»I love being part of the ritual that heals our forgotten connection to nature, which is the very foundation of our lives.«
»When the gloom returned with renewed force, it was Kjærgaard who, with a roaring guitar, sprawled across the emotional abyss. It was beautiful and brutal.«
As a listener, there is nothing to do but surrender to Amalie Dahl and the group’s convincing display of strength.