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© Sunna Ben

A Country Built of Sound

Dark Music Days in Reykjavík offered everything from Bára Gísladóttir’s orchestral darkness to noise, seaweed and quiet song in Harpa – in a music scene where community matters as much as the export adventure.

By Andreo Michaelo Mielczarek

PulseIn brief

Both performances revolved around Iranian heritage. Not a heritage that necessarily needs to be understood, but one that appears as a mosaic of contradictions — Martin Funder 19.02

© PR

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 — Sune Anderberg 18.02

© Daniel Buchwald

The composition was created in 2022 – before the current war in Gaza – but on this evening, with her immense voice and intense presence, she adds yet another verse to the endless song — Louise Steiwer 16.02

© Joakim Züger

What Does it Mean to Hear a Voice Without a Human Being?

© Rune Mielonen Grassov

In Niels Rønsholdt's »Country«, Jakob Kullberg meets his own manipulated double. Essay on authenticity and the voice between body and technology.

By Clara Bjerregaard Graversen

Latest

Knausgård’s Apocalypse as Opera

© Ilkka Saastamoinen

Sebastian Fagerlund’s »Morgonstjärnan« transforms the novel’s existential unease into a powerful, collective musical drama.

By Andrew Mellor

War Reverberations: Sound Stories From Kyiv

Air raid sirens, artillery, and everyday sounds have altered the city’s rhythm – and forced its residents to develop new ways of listening.

By Joanna Kwapień

Matias Vestergård revisited

© PR

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

Sacred, Profane, and Unsettlingly Alive

© Alicja Rzepa

Sacrum Profanum in Kraków offered intense sonic experiences and musical battles – but also performances where the idea outweighed the music.

By Andreo Michaelo Mielczarek

Nephew på Roskilde Festival. © Morten Rygaard

See Venice and Throw Up

Marie Koldkjær Højlund uses art, disgust, and everyday ruptures as resistance to habits, crises, and our urge to understand everything.

By Therese Wiwe Vilmar

The Anatomy of the Organ

It has become a cherished December tradition that Koncertkirken opens its doors to curious explorations of the nature of the organ when the Organ Sound Art Festival moves in. This year the festival could celebrate its 10th anniversary, and the fascination with the organ’s many paradoxes remains intact.

By Rasmus Steffensen

PulsePlaylists

Music to me is like water to plants. And a space to connect us, to ourselves, others and the world — Astrid Engberg 14.02

© Mira Campau

Music is my daily nourishment, helping me become a better person — Nilza Costa 18.02

© PR

In music, the big emotions fall into place, and the small ones bubble up — Astrid Kruse Jensen 19.02

© PR

Writer profile Simon Heggum

Simon Heggum

Simon Heggum has worked as a critic and communicator of particularly offbeat, experimental, and electronic music since 2017. He holds a BA in Cultural Communication from the University of Copenhagen as well as a teaching degree, and is himself an active musician in Sort Mono.