An Organ in the Dark Forest of Doubt
An album that is far more restrained in its dramaturgy than previous releases. No less beautiful or inspiring for it
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An album that is far more restrained in its dramaturgy than previous releases. No less beautiful or inspiring for it
In »Tapias« Francisco Coll conjures up moments of huge harmonic strain and conscious orchestral magnificence
Mike Sheridan’s fascination with the Cristal Baschet is evident on »Touch«. Less evident is the instrument’s significance for the music that emerges from it
Marie Dahl's first independent production transforms silk, sugar and sand into refined vocal theatre, but ultimately remains a little too tightly controlled
Aros' exhibition on punk takes sound seriously. Here, noise is not a backdrop but an artistic medium.
Lotte Anker and Fred Frith met in a performance where stoic calm and frenetic guitar work fused into free improvisation of both weight and beauty.
At CC Taste, Søren Kjærgaard, Kresten Osgood and Christian Lillinger turned the restaurant into a stage for free improvisation, everyday noise and anti-furniture music.
On »Poetics of a New Estate«, Soli City dissolves the boundary between the acoustic and the digital
Simon Steen-Andersen’s portrait concert at Louisiana was an overwhelming encounter between grotesque humour, video art, and brutal reality.
Yet another fascinating piece in the puzzle of Preisaitė’s singular oeuvre
Leaving the listener uplifted by this new Northern Irish music performed by the Ulster Orchestra and the fascinating Darragh Morgan, whose deep personal dedication gives so much to the music
Dreijer’s music believes in ecstasy as a gentle experience. It is music meant for dancing, yet somehow shy at the very thought of celebration
Simon Littauer’s AI project »Slopcore« may sound familiar. That is precisely the point
Wonderful music for drifting thought: a multicolored universe where the imagination continually discovers new pathways through a dense undergrowth of details
Ladies and gentlemen, we’re deep underground – indeed, all the way to France. A well-produced and effective piece of electronic music that invites the listener into a compelling game of whispers
Enchanting and, at times, deeply inspiring. It was a concert that, for now, refuses to loosen its grip on me
»Ghosts Beneath the Brine« sounds hauntingly gorgeous – but like the sublime spectacle of a shipwreck witnessed from a safe distance, it invites us to shudder rather than act
It is a successful EP with a clear sense of purpose: the strong textual foundation establishes a distinct compositional direction without digressions
Nevertheless, »Vildnis« emerges as a cohesive and engaging experience, despite the unpredictability of the experiment
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
TAK Ensemble once again demonstrates its remarkable sensitivity to the materiality of sound, inviting listeners to move beyond the often harsh surface of the present – and, perhaps, to breathe more freely again
Yet Barwick’s cinematic whistling and Lattimore’s harp arpeggios still found a glimmer of light within the dystopian darkness
Even the most brutal sounds in Laura Bowlers »The White Book« possessed a refined and disarming fragility
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
One wishes Squarepusher had either ventured further into the orchestral realm or trusted more in what he actually excels at, giving the electronics freer rein