in brief

02.07.2023

Orange Healing

RF 2023: Sofie Birch

Andreo Michaelo Mielczarek. © Kåre Viemose

Fuglene pippede under hele Sofie Birchs koncert. Vel at mærke fuglelyde, der kom fra en sampler. De var lystige og gjorde komponisten og sangerens nye numre endnu mere luftige, end de i forvejen er. Birch, som optræder på den alternative musiks store festivaler, kommer fra en ambient verden med bløde synthesizere. Selv Ned Ferm, der kan sende de kraftigste saxofonudladninger, spillede blødt og sart og repetitivt. For ellers bliver man ikke lukket ind i Birchs univers, hvor naturen bestemmer tempoet, udtrykket og åndedrættets udskejelser.

På Roskilde mødes flere lydverdener og skurrer mod hinanden som poppede paranoide engle. Derfor har festivalen også zoner til afslapning. I starten blev man forstyrret af lyden fra andre scener, men efterhånden blev man suget ind i Birchs mikrokosmos. Hun sang om spiraler, der drejer. Ellers fik jeg ikke fat i, hvad der var på færde i hendes naturhymner. Men det virkede som sande historier, der skete lige i dette øjeblik. Mens vi sad og lyttede. Mens den store verden derude var ved at gøre sig klar til bombastiske orange følelser ved Lizzo, Rahim og Weyes Blood. I sidstnævntes koncert var også fuglelyde, musikken var også skønhedssøgende og lukkede naturens små lyde ind. Men de store popmusikalske dramaer eksisterer ikke hos Birch.

»Det er godt med lidt fugle, ik?« sagde Birch. Jo! Mere kantet blev det, da en elbas satte et jazzet beat ind, og Birch forvandlede sig til en jazzsanger. Vi var på klub, men kortvarigt. Naturen tog over igen. Koncerten endte med en nynnen. Ingen grund til at forstyrre naturens orden mere end højst nødvendigt.

playlist

03.04

My name is James Black – would you like to see my playlist?

»Music is a deep, but not serious, spiritual practice, in which creator, collaborator, and consumer alike are their own personal pope.«

James Black (b. 1990) is a composer, performer, and artistic director of Klang Festival – Copenhagen Experimental Music. Originally from Bristol, England, they moved to Copenhagen in 2013. Black's works have attracted a large amount of attention both nationally and internationally for their signature combination of artistic courage and vulnerability, described by the Danish Arts Council as »a universe of real madness where everything goes«. Their work is a deep and personal exploration of topics such as religion, loss, and queer identity, that is unafraid to be stupid or serious in any direction.

playlist

02.04

My name is Christian Juncker – would you like to see my playlist?

»Music is just something for me.«

Christian Juncker is a Danish musician and songwriter who has released a number of Danish-language albums. He debuted in 1995 with the band Bloom. Together with his friend Jakob Groth Bastiansen, he formed the duo Juncker in 2002. He is also behind the Christmas carol »Luk julefreden ind« from 2024.

playlist

01.04

My name is Idan Elmalem – would you like to see my playlist?

»Music, for me, reveals the emptiness of boundaries and definitions – in consciousness, in space, and in music itself.«

Idan Elmalem is an oud player and composer working across world and popular music, now presenting his debut instrumental EP and live performance project. Following years of collaboration within the Israeli music scene, he turns toward a more personal and intimate musical voice, blending traditional oud with a contemporary sensibility. Influenced by his studies with master Nissim Dakwar, Elmalem’s music explores the space between tradition and innovation. His debut EP, Time, features three live-recorded pieces that move between past, present, and future, combining classical Arabic and Persian elements with jazz, minimalism, and cinematic sound. Based in Tel Aviv, Elmalem draws on his Moroccan-Danish heritage in his work. He is a graduate of the Jerusalem Academy of Music and Dance and is currently pursuing a Master’s degree in Ethnomusicology at the University of Haifa, alongside his work as a player and composer.

31.03

Local Forces Behind New Electronic Festival in Aalborg

On May 29, the Aalborg-based collective Datahaven9000 takes over the venue Skråen, transforming its main hall into a concentrated one-day festival of electronic music. The event is part of the concert series Bystanders #3, where the stage is handed over to local scenes rather than the venue’s in-house programming.

in briefrelease

30.03

Inside the Belly of an Alien Sonic Organism

Ideologic Organ / La Becque Editions, 27.03

Nikola Nedeljkovic Gøttsche

Two of contemporary music’s most uncompromising material thinkers meet on Music for Intersecting Planes: the American organist Kali Malone and the French cellist Leila Bordreuil. Malone works with oversaturated blocks of sound and sonic mass as a sustained pressure, while Bordreuil seeks friction – her cello a recalcitrant organism that creaks and resists.

What they share is an ascetic attention to the specificity of their instruments. The organ and the cello are pushed to their outer limits, where recognizability dissolves and overtones emerge like hidden entities.

The title pieces, »Intersecting Planes I» and »II«, unfold as undulating ruptures of sound: animalistic, almost elephantine cries that surge forward and recede again. Only rarely can the sound be identified as organ or cello. (»Pilots in the Night« comes closest to a familiar balance between the organ’s gravity and the cello’s resistance.) Otherwise, the music moves within a field between the metallic and the electronic, as if the sound originates neither from strings nor pipes.

It is not mass that is being explored here, but rather a kind of hollowness: an airiness that is not light, but permeated by an indeterminate resonance – something ancient, almost ceremonial. The album holds something far more porous and open than Malone and Bordreuil’s earlier works. The sound appears as a concave form, bending inward, like an absence of material. The sonic landscape carries its own dissolution within it as an inherent delay – as if the music exists, first and foremost, as the erosion of something one thought one heard.

English translation: Andreo Michaelo Mielczarek