Med kun synths og kassettebåndoptagere har Morten Riis skabt et album, der med sine selvpålagte begrænsninger opnår en fascinerende dybde. Et album, der med meget få virkemidler siger virkelig lidt og på samme tid virkelig meget.
Små musikalske bidder driver ind og ud af det hørbare felt. Ringer ind, brummer, hviner, hvisler og ringer ud igen. For det meste støt op og ned som et åndedræt, med lejlighedsvise bratte ophold. Mere eller mindre påvirket af kassetteformatets inhærente båndstøj. Selv de mest tyste øjeblikke er underlagt denne summen. Jeg elsker den tilstedelighed, det afføder. Teksturerne er nærmest fysiske.
Albummet har en meget åben lyd. Den er minimalistisk, sommetider smuk. Men oftest er den der bare. Gør ikke megen væsen af sig på en utroligt tiltalende facon. Det ene øjeblik lyder det meget jordnært, det næste – sakralt. Riis leger med tyngde og lethed, og tyngdens lethed og lethedens tyngde på en måde, der synes at ophæve alle gængse relationer mellem dem. Som for eksempel nummeret »den støjende sol«, der i realiteten ikke spiller meget højere end resten af musikken, rent decibelmæssigt, men alligevel brager gennem højttalerne på hidtil uhørt maner.
Det er betagende, hvor rigt, dybt og bevægende et stykke musik, Riis har sammensat af så undseelige elementer. Hans stille støj er tavs som en skygge i hjørnet af et rum – og kraftfuld som skyggens skaber og ødelægger.
»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.
»To us, music is a primal, elemental force that allows us to shed our inhibitions.«
Leizure is a Copenhagen-based quintet operating at the intersection of post-punk, no wave, and experimental rock. The band’s sound is characterized by atonal vocals, piercing saxophone, hypnotic guitar riffs, and a rhythmic foundation that oscillates between tight precision and raw intensity.
The band’s upcoming album, The Guillotine, explores themes such as societal decay, upheaval, and the challenging of established structures – all conveyed through a direct and high-energy musical style.
