I en serie af mini-interviews spørger Seismograf/DMT forskellige aktører på musik- og lydkunstscenen til aktuelle anbefalinger af værker eller events. Se her komponist og lydkunstner Sandra Boss spændende anbefaling.
1a) Hvilket værk vil du gerne anbefale til andre?
Jeg vil anbefale at tage op og kigge på Compenius-orglet, der står oppe i Frederiksborg Slotskirke. Hver torsdag kl. 13.30 bliver orglet demonstreret, og det er en performance i sig selv: Det der ligner et stort, ornamentet træskab forvandles langsomt til et orgel ved at låger åbnes, der afslører 1001 piber, og skuffer med tastatur og pedaler trækkes ud. Herefter sættes kalikanten igang med at pumpe luft ind i bælgene, der herfra spreder sig ud i piberne. Det er en højst bemærkelsesværdi klang, instrument genererer, hvilket først og fremmest skyldes, at piberne alle er lavet i ædle træsorter, og dernæst at orglet spiller i sin originale middeltonestemning.
2) Hvorfor er dette værk/denne event særlig?
Det er en mulighed for at opleve et af verdens ældste orgler, der står i sin originale stand. Og en mulighed for at opleve en klang, som hører fortiden til, men som lyder som noget fra fremtiden.
3) Hvad arbejder du selv med lige nu?
Sjovt nok arbejder jeg med orgelmusik! Jeg har tidligere arbejdet med at skabe lydkunstværker for orgler, (senest i samarbejde med Jonas Olesen, hvor vi lavede en koncert for syv orgler i Sct. Andreas Kirken i København.) Nu har jeg imidlertid fået fingrene i et transportabelt midi-styret pipeorgel, der har 61 piper. Og det er det instrument, som jeg arbejder med for tiden, og som fik sin ilddåb med en performance forleden på Kunsthal Aarhus.
Derudover går jeg og venter på at min nye plade med titlen Perfekt Termisk snart kommer. Det er en plade bestående af udelukkende elektronisk musik, genereret via de mest opslidende gammeldags metoder, der har inkluderet brug af spolebåndoptagere, tonegeneratorer og gamle filterbokse. Man kan sige, at pladen afspejler en slags nørdet, mediearkæologisk udredning.
Læs mere om Sandra Boss’ projekter her.
»What is music to me? Here’s a quote from Nietzsche: ‘The people dancing all seemed crazy to the people who couldn’t hear the music.’«
Salim Washington is a saxophonist, multi-instrumentalist, composer, academic, and activist from Detroit who has been highly active on the American jazz scene since the 1970s, and also in South Africa, where he became a central figure. The spirit of John Coltrane hovers over his music, which carries both spiritual and social dimensions.
»Music for us is the perfect language that we love to speak. A language where it is the individual's feelings and imagination that determine what is right and wrong. Everyone can speak the language. You don't have to be able to write or understand, but just listen. Some music requires that you listen carefully and maybe hear it several times. A bit like when you talk to someone from Norway or Sweden, you also have to listen a little extra.«
DØGNKIOSK is a Danish punk rock band with roots in Silkeborg. The band consists of bassist and singer Anders Ejner, who has been active on the Danish underground scene for several decades. Musically, DØGNKIOSK moves in a field between classic Danish punk and alternative rock. In the spring of 2026, the band will release their second album, Tæt på kanten.
It is difficult to comprehend that Andreas Engström is no longer with us. Just a couple of months ago, he wrote – as he had done so many times before – with an ambitious proposal: he wanted to review a box set of twenty releases by Dror Feiler. In the same message, he mentioned plans to come to Aarhus for the recently concluded Spor Festival.
Ladies and gentlemen, we’re deep underground – indeed, all the way to France. This EP is the latest conceptual release from French electronic producer Romain Martin, who works under the name RÖM in the borderland between ambient and techno. Whispering Dub unfolds across five tracks, drawing heavily on dub while telling a story about an escape from a fictional hotel. Escomel’s background in African percussion studies and his fondness for analog gear surface in the mysterious sonic textures and the stark contrast between arranged percussion and dubbed-out echoes, underscoring the concept’s tension between mysticism and reality.
»Oilbird« opens in dystopian ambient before sliding into the rhythmic »Eastern Temple«, which constantly shifts between filtered synths, frantic percussion, and sudden breakbeats. Things cohere more fully on the title track, which blends minimal techno into the mix and stands out by maintaining a steady pulse, while echo-laden drums cast an unsettling atmosphere within the dance framework. On the closing »Hotel Amnesia«, the narrator awakens again in a collage of the record’s electronic tendencies, questioning their own existence in the album’s only use of vocals.
Whispering Dub isn’t wildly groundbreaking or bizarre enough to push the senses into extreme reactions. But as a well-produced and effective piece of electronic music, it invites the listener into a compelling game of whispers.
English translation: Andreo Michaelo Mielczarek
The stage was set for a special experience on Wednesday evening at KU.BE on Frederiksberg. In the borderland between tradition and joyful madness stood birthday celebrant Kasper Tranberg, blowing his trumpet. What emerged was an insistent blend of jazz and avant-garde, laced with understated humor and delivered by a virtuoso with a calm, unmistakably Danish presence. With a wry sense of ease, he made even the most complex passages surprisingly accessible.
Tranberg presented excerpts from 12 Melodic Illusions for Solo Improviser and Melodic Illusions for Sextet with both devotion and a glint in his eye. He demonstrated how the trumpet can stand alone while still conveying abstract emotional states. Sharp trills dissolved into growling undertones, merging with the resonance of the room. At times, he employed backing tracks, creating duets with himself.
The evening’s main attraction was the trio Mesmer – Emil Jensen, Victor Dybbroe, and Anders Filipsen – who performed works from their new piece Terrain Vague II, developed through several residencies in Northern Jutland. The three compositions moved within a field of electroacoustics, contemporary music, and analogue improvisation, carrying a distinctly cinematic and nature-infused sensibility. The sonic plunges into the Limfjord were particularly striking: Dybbroe’s metal percussion and Filipsen’s lapping synth textures carved out a dark, magnetic space. In the piece inspired by Aalborg Harbour, Jensen’s trumpet cut through with long, mist-laden tones, like signals drifting in from distant ships. The result was both enchanting and, at times, deeply inspiring. It was a concert that, for now, refuses to loosen its grip on me.
English translation: Andreo Michaelo Mielczarek
