Sune Anderberg

Sune Anderberg was Seismograf’s editor-in-chief from 2019 to 2021. Today he works as an independent critic with a regular affiliation to Weekendavisen, but he remains deeply engaged with contemporary music, which he has covered for Seismograf since 2013. From time to time, he wonders whether the field has closed in too tightly on itself, and then he tries to pry it open again – with or without force.

By Sune Anderberg

in brief
17.04

The Kids Are Alright

But yes, you missed out. Especially on young Albert Laubel, who did exactly what you hope someone will do at this kind of concert: suddenly step forward, make a mark, and promise something for the future

By Sune Anderberg
in brief
11.04

For and Against the End of the World

Vanessa Amara got stuck in therapeutic deep house, while Soli City arrived at Beboerhuset with an overflow of chopped-up hyperpop aesthetics and melancholic spoken-word

By Sune Anderberg
in brief
23.03

Two Voiceless Ironists vs. the 2026 General Election

A light – and perhaps somewhat cheap – dish, but who has the energy for more after four weeks of campaigning?

By Sune Anderberg
in brief
20.03

Vocal Desire Between Deadpan and Renaissance

Before you know it, an hour has passed in which Vestergård, Sandberg, and ÆTLA have slipped poetry, madrigals, and new vocal music down the throat of a young audience. It can actually be quite fun!

By Sune Anderberg
review
18.03

We’ve Never Needed Pulsar Festival More

The major Danish composer festivals are starting to resemble each other more and more, but Pulsar Festival stands apart. Here, there is still more string quartet than performance art, making Pulsar an important alternative platform for new music – if only the festival itself would fully realize it.

By Sune Anderberg
in brief
18.02

Serious Creeps

Afstanden mellem insekterne og en selv gik i opløsning i et dirrende drømmebillede. Så var det pludselig lige meget, om der er liv på Mars

By Sune Anderberg
review
24.01

Matias Vestergård revisited

Revivals have moved onto the agenda among Danish composers, and this month two violent operas by Matias Vestergård benefited from the trend. What is it that makes him so good at writing precisely that kind of work?

By Sune Anderberg
in brief
29.10

What Do the Mad Want With an Opera House?

OperaHole nevertheless looks like a strong contender to carry on our tradition of playful underground opera.

By Sune Anderberg
in brief
29.09

High to Fly, Ice-Cold to Crash

»The shockwave transforms into mischievous, squelchy synth footsteps as desperation and hallucinations grow.«

By Sune Anderberg
in brief
16.08

The Symphonic Statement of the Year

The music is brutal, relentless. But could it have been more: more in colour, beyond the duel?

By Sune Anderberg
review
15.08

Walking Blind

At its best, the ambitious sound art walk »Witness Stand« at Refshaleøen pierces right into Copenhagen’s gentrification of the old industrial area. But does it realise that it is itself part of the problem?

By Sune Anderberg
comment
13.08

I Most Certainly Will Not Stay Away From Your Theatre

A few days before this year’s Copenhagen Opera Festival begins, I, as a critic, have been asked to keep away from one of the festival’s most experimental performances at the theatre Sort/Hvid. This is a complete misunderstanding of the role of criticism.

By Sune Anderberg