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.

© Inga Records

»For me music is life. It contains everything and carries the strongest healing powers there is.«

Mika Akim is the solo project of the viola player, composer and songwriter Mika Persdotter. The project started when Mika found a viola d'amore outside of Prague and started writing songs for it, about and for the body. Exploring open forms, minimalistic approach and mixing influences from folk music, baroque and experimenting with sound. The music is cyclic and honest. Since the project started Mika Akim has released two albums and now the third solo album feb 28 will be released on the 27th of February on Inga Records. 

Besides the solo project Mika Persdotter is an active musician in the experimental music scene as well as the contemporary and baroque fields in Copenhagen. Member of Halvcirkel, Damkapellet, Wolfskin Ensemble and Stök among others. 

Bobo Moreno. © Thomas Roger Henrichsen

»Music is an element for me, along with earth, wind, fire and water. Music is a nutrient that is part of my personal food pyramid, along with cheese, eggs and tomatoes. Music is a relationship in my life that is just as important as the people I have around me. Music is like an extra organ through which I perceive the world.« 

Growing up surrounded by his parents’ eclectic record collection, Bobo Moreno developed a love for music across genres. Named after his stepfather, jazz and rock bassist Bo Stief, Bobo started out on the electric bass before, at the age of 22, finding his true instrument – ​​his voice. Self-taught, he developed his craft through countless live performances and garnered recognition for his expressive voice and stylistic range. His national breakthrough came with the pop duo Peaches & Bobo in 1993. After decades of performing, at the age of 60, Bobo now releases Missing Pieces – his deeply personal debut album, reflecting a life of musical exploration and self-discovery, while marking a new chapter in a lifelong musical journey.

© Mira Campau

»Music to me is like water to plants. And a space to connect us, to ourselves, others and the world.«

Astrid Engberg is a contemporary artist with roots in the past, blending electronic-organic jazz, soul and percussive minimalism. Her sound combines heavy, minimal productions with personal storytelling and a spiritual edge, carried by a voice that balances sensitivity and strength. Since releasing her debut album Tulpa in 2020, highlighted by Bandcamp as one of the summer’s best releases, she has received the Steppeulven award as Producer of the Year 2021 and won Vocal Jazz Release of the Year at Danish Music Awards Jazz, alongside a nomination for Experimental Album of the Year.

Engberg has performed live and as a DJ at major Danish festivals and venues, including SPOT, Heartland, Roskilde Festival, DR Koncerthuset and SMK – Statens Museum for Kunst.

in brieflive
13.02

Ash in the Ear

Farvel & Peter Laugesen
© PR
© PR

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

in briefrelease
11.02

Echoes from the Olive Trees

Mai Mai Mai: »Karakoz«
© PR
© PR

Grief is hereditary. It is collective and more than mere streams of tears – as countless generations of oppressed Palestinians can attest. On the album Karakoz, the Rome-based musician Mai Mai Mai creates a resonance of this collective sorrow and attempts to grasp the desperate hope of the Palestinian people. Not through political slogans, but through dark spiritualism and synthesizers.

Karakoz is an ancient form of shadow theatre with roots in the Ottoman Empire, and the album title serves as an omen of the musical pulse that sets in from the opening track, »Grief«. Here the music sounds like an archaic folk hymn: slow, repetitive percussion creates a tear-soaked minimalism, and the piece feels like a ceremony passed down through generations. With synthesizers slowly coiling around Maya Al Khaldi’s yearning vocals, »Grief« becomes a cultural bridge between forgotten traditions and the painfully current tragedy that today envelops Palestine in an all-consuming darkness.

Across the seven tracks, one hears trauma like a wind murmuring through the streets and among the olive trees. This may be because the album was created in collaboration with local artists and includes archival material from The Palestinian Sound Archive – an archive of decades of forgotten music, poetry, and album covers. Karakoz is a reinterpretation of Middle Eastern spiritualism and forgotten music. It is a testament to grief as lived experience, and as an archival bulwark, Karakoz thus takes part in the struggle for a free Palestine.

English translation: Andreo Michaelo Mielczarek