Under temaet EPIPHANY har den aarhusianske festival for ny musik og lydkunst, SPOR, offentliggjort det fulde program for sin 2017-udgave.

Det engelske ord "epiphany" kan bedst oversættes til dansk som åbenbaring, men dækker også over manifestationer af noget overnaturligt eller magisk. På SPOR 2017 udforsker man gennem temaet små fortryllelser, der er i clinch med hverdagen.

Det kommer i programmet til udtryk gennem forskellige situationer, der erobrer de rum, hvori hverdagslivet udspiller sig og kaster nyt lys over de mønstre og rutiner, som knytter sig til det daglige liv.

»Eksempelvis laver Ea Borre og Sandra Boss et værk, som tager udgangspunkt i en kendt situation – en gademusikant, som sidder og spiller – det er noget man bumper ind i, når man er i sit almindelige hverdagsliv. Men de vender, drejer og strækker det, så de ender med noget, som bliver en lille bobbel af magi, som både har den her kendte hverdagslige følelse, men som samtidig sætter sig fuldstændigt ud over den«, forklarer den ene af festivalens kunstneriske ledere Anne Marqvardsen.

Værket hedder Sustained Effort og gør brug af en akkordeon-lignende lydskulptur af ekstreme fysiske proportioner, der bliver en del af en offentlig performance i Aarhus' byrum.

Ligeledes laver den polske komponist, performer og kunstner Jagoda Szmytka en syv dage lang performance, hvor hun bor i et udstillingsrum til frit skue for offentligheden. Og således bidrager programmet på forskellig vis med små performative, der rummer åbenbaringer.

»Der er en meget stærk personlighed i årets tema og i de værker og kunstnere, som er blevet inviteret indenfor, og som er blevet udvalgt. Det, der generelt kendetegner SPOR er, at der altid er en ret stram kuratering og tematik, som tegner festivalen rigtigt meget, uanset om vi gør det solo, eller om vi gør det sammen med en gæstekurator. Vi inviterer ikke bare de kunstnere og ensembler ind, der alligevel turnérer i maj måned«, pointerer Anne Marqvardsen.

SPOR er født med idéen om at have en ny kurator hvert år. I 2007 var det Anne Marqvardsen og Anna Berit Asp Christensen, der vandt kuratorkonkurrencen. Året efter indtrådte de som festivalens direktører og har siden givet kuratorstafetten videre til vægtige danske komponister som Bent Sørensen og Simon Steen-Andersen, til udenlandske udfordrere som Joanna Bailie og Jennifer Walshe eller fællesskaber som f.eks. det belgiske Nadar Ensemble, der kuraterede festivalen sidste år. Men på tiåret for deres debut kurateres festivalens program atter af direktørparret Marqvardsen og Christensen.

»EPIPHANY er også et tema og en overskrift, der relaterer sig personligt til det arbejde vi selv har haft med festivalen. Det er vores tiende festival i år, og på en måde tror jeg der ligger en grundforståelse for os begge to af, at vi har arbejdet så utroligt eksperimenterende med den her festival, og vi har valgt at lave så mange ting, som var ukontrollérbare og uden at vide, hvad det ville ende med. Det har affødt de her bittesmå åbenbaringer eller magiske ting, som vi ikke kunne være sikre på. Så der ligger også noget personligt i det tema i forhold til, hvordan vores egen rejse har været med den her festival gennem 10 år«, fortæller Anna Berit Asp Christensen.

Efter at have vokset sig til den institution, den er i dag, har SPOR kræfter til at realisere flere og mere ambitiøse tiltag. Det afspejler sig eksempelvis i projekter som SPOR New Music School, hvor der under festivalen de seneste to år er blevet komponeret samtidsmusik og lydkunst af musikskoleelever på 11-15 år. Men festivalens udvikling ses også i musikprogrammet:

»Alt, hvad der er på programmet, er noget vi holder af på en helt særlig måde, og som betyder rigtig meget for os. Men der er ingen tvivl om, at jeg er rigtig stolt over, at vi i år kan præsentere en meget stor Manos Tsangaris-produktion. Han er en utrolig anerkendt figur på ny-musik-scenen i hele Europa, og man har aldrig haft en Tsangaris-produktion i det format før i Danmark«, afslutter Anna Berit Asp Christensen.

SPOR finder sted i Aarhus 8-14. maj på forskellige lokationer i Aarhus.

Læs mere på festivalens hjemmeside.

in briefrelease
21.05

Artificial Intelligence on Autoplay

Slopcore: »Simon Littauer«
© PR
© PR

The logic of automation has long been part of modern music production. But what happens when it no longer merely assists, but takes over the creative process and artistic execution itself? Simon Littauer’s Slopcore is one of the latest attempts to answer that question. The sound of the AI-driven project is not radical as such, but it is interesting because Slopcore is several things at once: both a concrete take on an artistic practice shaped by recent developments in AI, and a symptom of the all-encompassing data models currently being debated so intensely.

Slopcore mimics the logic of a familiar streaming platform, except that the music here is generated in real time, with the audio stream continuously adapting to the listener’s behaviour, allowing users to proactively like the output or skip ahead whenever they want. The simple interface – featuring play, pause, and a heart icon – is accompanied by a pointillistic waveform that visually emphasises how Slopcore’s aesthetic winds its way through recognisable electronic terrains of house, 2000s electronica, IDM, techno, drum’n’bass, ambient synth textures, etc. etc. Most of it is rhythmically, harmonically, and melodically coherent, without being overly experimental.

As an AI-boosted extension of Littauer’s broader musical practice – which already contains strong aleatoric and algorithmic elements – the whole thing makes perfect sense. AI is not disappearing as a technology, and the parallels to Spotify’s growing AI ambitions or platforms like Suno are obvious enough. Littauer’s position as an established electronic musician becomes entangled in a deeply commercial and opaque data architecture (read: Google’s). And the title clearly references – perhaps ironically – the concept of »AI slop«, the term used to describe the generic, soulless overproduction of images and sound flooding digital platforms. Beyond being an entertaining listening experience, Slopcore can also be seen as a relevant – perhaps, in the current climate, even courageous – contribution to an ongoing and confusing debate about artistic integrity and authenticity in a cultural world that cannot decide whether it wants to resist or simply log in.

English translation: Andreo Michaelo Mielczarek

in briefrelease
18.05

Somewhere Between an Acid Dream and a Sound Garden

Kaloja: »A Body of Water«
© PR
© PR

On A Body of Water, you step directly into the singular sonic universe of Finnish multimedia artist Jan Anderzén(Tomutonttu, Kemialliset Ystävät). The album unfolds as a collage of whimsical melodies created in collaboration with British musician Paul Wilson (f.ampism, Yayoba), whose contributions subtly enrich the colorful patchwork of sonic threads. Subtle, perhaps, but unmistakable. The soundscape is densely detailed: beneath the constantly shifting melodies, countless tiny sonic shoots stretch eagerly toward the eardrum. It feels like an acid dream in which everything around you – from roadside flowers to airplanes crossing the sky – has suddenly begun to sing.

Paradoxically, this flood of chaotic and rapidly changing impressions gives the music an almost ambient quality. There is great pleasure in listening closely to the miniature details bubbling beneath the surface, occasionally bursting through to dominate the frequencies for a brief moment.

Yet strong, recurring melodies capable of anchoring the listening experience remain absent in favor of mood and texture. Importantly, this is not a flaw. Heard through an ambient lens, the album – which at first can seem slightly directionless – suddenly reveals its logic. Its playful depth and lack of rigid structure encourage endless free association. It is wonderful music for drifting thought: a multicolored universe where the imagination continually discovers new pathways through a dense undergrowth of details.

English translation: Andreo Michaelo Mielczarek

© Meseguer

»To us, music is the definitive companion. As listeners, it fosters a sense of communion, bridging the gap between souls through the shared experience of sound. As creators, however, music confronts us with our own inner void, that profound solitude that nourishes the creative spirit. At the same time, it dares us to leap into the unknown to decipher the ineffable. Music anchors us to the present moment, to the 'now' shared with a live audience; yet, it also touches the eternal.«

L'arannà is an electronic folk duo. With their last project, Turmarí, the duo dives deep into the folk music traditions of the Pityusic Islands, offering – through their blend of sound exploration– a perspective on Ibiza and Formentera. Synthesizers and keyboards share the stage with traditional instruments and aesthetics inspired by the ancestral ball pagès dance. Reviving cant redoblat (a unique form of singing from these islands preserved by fewer than twenty people) the group weaves a narrative that traces the roots and lived reality of two islands that are far more than just a dreamt-of paradise. The band will be touring around Denmark and Sweden, from 27th to 31th of May, playing at venues like Turkis, Dexter, Inkonst or ALICE.

© Ana Alexandrino

»Music to me is movement, trance, transformation. The rest I won't tell you.«

Marcela Lucatelli is a vocalist and composer. Born in Brazil and based in Denmark, she has gained international recognition for her boundary-pushing performances — sensuous, politically charged, and uncompromisingly original. Described by The Wire as a composer of »scores for the limits of bodies and voice,« Lucatelli challenges conventions with her fearless vocal experimentation and bold compositions. Her works have been performed by Danish National Symphony Orchestra, Danish National Vocal Ensemble, and Neue Vocalsolisten Stuttgart. She has appeared at major festivals and venues, including Theatro Municipal de São Paulo, DR Koncerthuset, Donaueschinger Musiktage, Darmstadt Ferienkurse, IRCAM, Copenhagen Opera Festival, Ultima Festival, Borealis Festival, Copenhagen Jazz Festival, Jazzfestival Saalfelden, Cafe Oto, A L’ARME!, DMA Jazz – Danish Music Awards, WOMEX, and many more. Lucatelli's work has earned her several prestigious awards, including the Carl Nielsen and Anne Marie Carl-Nielsen Talent Prize (2019), Pelle Prize (2021), and the Danish Music Awards' 2023 Vocal Jazz Release of the Year, which shows that vocal jazz has many faces – and does not necessarily belong only to the soft end of the spectrum.

© PR

»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.