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Struer Tracks showed that even municipal branding can open new worlds when sound art gets involved – from glitching rat voices in the basement of the music school to subwoofers that shook the harbor.
Savonlinna’s castle festival lets Finnish national opera resonate between stone, lake, and summer night – and shows how dark dramas can mirror the soul of a people.
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?
Borealis in Bergen promises experimental music but falls short when it comes to traditional concert formats. Instead, magic emerges when the audience is invited out into the forest or into floating sound saunas.
From digital melancholy and ritual noise assaults to pure silence – MaerzMusik explored the tactile forces of sound and the boundaries of the body.
The Only Connect festival in Stavanger transformed the city into a landscape of noise, poetry and bodily vibrations.
Katsuko Tsujimura sought to dissolve the body in postwar Japan. Now, new voices are gently piecing it back together.
The MOMENTUM biennial in Moss, Norway lets sound art speak, guiding the audience into the borderlands of the senses – where even a toilet resonates like an echo chamber.
This year’s edition of Copenhagen’s festival for new music embraced sonic rituals, cultural encounters, and performances with loops, bodies, and cassette tapes – and featured French musicians playing as if sound itself could change the world.
At the Bergen International Festival, William Kentridge and Ryoji Ikeda let art capture what can no longer be said – only felt.
At Geneva’s Archipel Festival, lost instruments and occult soundscapes are brought to life in a journey through speculative rituals and experimental music.
From seductive echoes in an abandoned yeast factory to allergy-inducing angel wings in a baroque church – Musik Installationen Nürnberg put the body in motion, but left the question of what a music installation truly is unanswered.
From giant flutes to performative rituals – the anniversary edition of the Aarhus-based festival unfolded the materiality of sound and musical collaboration in new forms.
Estonian Music Days revealed how a young, vocally attuned community of composers in the small country between Finland and Russia combines historical depth with freedom, resonance, and intimacy.
Bent Sørensen’s new operatic collaboration with Jon Fosse falls short of what it might have been.
At the Copenhagen Museum, the city’s forgotten soundscapes are brought to life – from street cries and gongs to nervous night sirens – in an exhibition that lets the echoes of the past resonate in present-day ears.
Damon Albarn’s Mozart spin-off »The Magic Flute II« is replete with synths and spectacle, but does it truly capture opera’s essence – or merely its aesthetics?
Jenny Wilson’s first opera – an adaptation of Elfriede Jelinek’s »Women as Lovers« – delivers sharp theatricality and biting satire but struggles to find its musical voice.
Three albums with music for string quartet – and the likes – by Jürg Frey, Simon Christensen, and Anders Lauge Meldgaard each approach musical simplicity in their own way. But they aim for entirely different things with it.
»Bodies of Sound« gathers reflections from women and non-binary individuals on sound as experience, strategy, and resistance. This book should be read by anyone interested in sound as something beyond just music.
War, refugees, and destruction are inescapable at the Venice Biennale. You can feel it, see it, hear it – it's all-encompassing. Has Venice ever been this filled with sound?
War, refugees, and destruction are inescapable at the Venice Biennale. You can feel it, see it, hear it – it's all-encompassing. Has Venice ever been this filled with sound?
Powerful Rhythms and Empowered Voices dominated at the opening night of Heroines of Sound Festival in Berlin.
Salomé Voegelin’s book about our uncurating sound is her most personal and also most difficult to read – however, succeeding with her project, despite almost all odds.
After a long hiatus due to the covid-19 pandemic, Berlin Atonal has opened the gates of Kraftwerk to the public for the first time. As limitations to collective events endure, the new project Metabolic Rift includes, in addition to the live performances, an exhibition aiming to elicit individual experience with intense stimuli. The exposition presents a convincing curatorial approach to sound, exalting its sensorial qualities and proposing an inspiring model to work with the aural and its (im-)materiality in the context of art exhibitions.