There was something liberating about watching 83-year-old Peter Laugesen step onto the stage at Phono with a new band and not a trace of nostalgia. There was no hint of a poetic lap of honour. But plenty of noise. The trio Farvel – Halfdan Magnus Stefansson (guitar), Gustav M.K. Lauridsen (bass) and Jens Højbøge Mosegaard (drums) – did not play politely around the poet. They laid down a massive carpet of stoner rock and free improvisation beneath him, as if the words had to be wrenched free from gravel and distortion. At first the music moved heavy and viscous. For a long time. Then it accelerated. And Laugesen accelerated with it.
He sat on a chair in the corner, leafing through his books, speaking of dawn, of children at play before they disappear, of Finnegans Wake, Winnie-the-Pooh and an irate »then thaw, for fuck’s sake.« The words did not fall in rhythm – they landed like bolts on a workshop floor. Laugesen’s baritone is still as coarse as steel wire; the Brabrand accent refuses to be polished. He played the harmonica. It sounded more than off-kilter – a twisted blues.
Farvel emerged from a jazz ambition that dissolved and found another path in the abrasive aesthetics of 1990s noise rock. It suits Laugesen. The three young musicians did not play behind him, but with him, across generations, on equal footing. This was no solemn celebration of an ageing poet. It was a workplace filled with friction. At Phono, Laugesen sang – yes, sang – the prose of life across a wall of sound. His voice cut in between the rumbling bass and the grit of the snare drum. He spoke of »ash in the ear«. You left carrying precisely that: a tremor in your hearing. When language meets resistance, it can still strike sparks.
Phono. 12.02
Danish composer Sofus Forsberg has died at the age of 56. With his distinctive blend of melodic sensibility, electronic processing and rhythmic precision, he created a musical world that moved effortlessly between IDM, pop and the avant-garde.
»Music for me is my hobby, my job, my outlet, my mood, an endless source of discovering new music and new, old music, some of the best and can be some of the worst. And I love it!«
Track72 aka Tue Track aka Anders Lundby Brixen. Producer, DJ, rapper and more. Known for his role in the trio Malk De Koijn, which since the mid-1990s has created a personal universe in Danish hip-hop. Has performed in Ponyblod, Xtra Naan, Track Abdullah Rock, Booty Cologne and others.
On Wednesday, 5 August 2026, it happened again: a chord in John Cage’s Organ2/ASLSP (As Slow as Possible) changed after two and a half years. Classic FM reports.
The work was written by the American avant-garde composer John Cage in the mid-1980s. The score consists of eight pages of music, and, as the title suggests, the instruction is to play it »as slow as possible.«
»What music is to me? Where have the great feelings gone?«.
Gellért Szabó is a composer, conductor and performer based in Leipzig, Germany. His work combines contemporary composition with influences from free improvisation, noise and the expressive richness of the late nineteenth century. He is the founder and artistic director of the 23-piece Ideal Orchestra, an ensemble dedicated to large-scale experimental music of sweeping emotional intensity. Alongside this work, Szabó performs internationally with his solo project Radical Radio Show, exploring symphonic textures and immersive sound worlds through a single electric guitar and live electronics. His music is driven by a search for intensity, vulnerability and uncompromising emotional expression.
From the Culture Yard in Helsingør, ships glide past Kronborg Castle through the narrow waters of the Øresund – a reminder of the trade routes that, for centuries, have carried goods, people and power between the Nordic region and the wider world. It is an apt point of departure for the Passage Festival, and for Marie Dahl's vocal work Silk. Sugar. Sand, which explores the intertwined histories of three materials.
Silk. Sugar. Sand is a vocal performance in three acts tracing the historical journeys of these materials through colonialism, the global economy and geopolitics. Five singers from Ars Nova Copenhagen perform within a minimalist scenography consisting almost entirely of coloured light and three sets of costumes that transform throughout the performance: first silk dresses, then crinoline-like structures evoking sugar loaves, and finally grey stone-like forms suggesting accumulations of sand.
The work's central device is to translate the physical properties of these materials into vocal expression. At one moment, the elasticity of silk becomes soft, flowing polyphony; at the next, a cocoon-like electronic crackle. Sugar's crystalline structure is rendered as sharp vocal attacks – brief, whip-like cracks – as well as sweet, intimate whispers, while sand creaks and rustles, resonating with a libretto about economy and domination, violence and desire.
The performance has no conventional narrative, and the five singers portray no distinct characters, moving somewhat stiffly across the stage, as performers often do when their primary focus is on the voice. Comparisons with Hotel Pro Forma's Flammenwerfer are difficult to avoid. There, the production's rigorous aesthetic was counterbalanced by C.F. Hill's wildly expressive visual universe and Blixa Bargeld's deeply vulnerable stage presence. Those qualities are missing from Marie Dahl's carefully controlled staging, which could have benefited from more of the sensitivity and chaos that also form part of Kirsten Dehlholm's artistic legacy.
