The Real in the Illusion – In Memory of Peter Ablinger
Peter Ablinger has died. Yet his work continues to open our senses to the impossible: to hear hearing itself.
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Peter Ablinger has died. Yet his work continues to open our senses to the impossible: to hear hearing itself.
Music is not just sounds, but a vain attempt to capture the infinite, which has always been and always will be.
»Music is hope, confusion, and memory talking with each other, leading us toward futures we haven't yet imagined.«
Music like sex are means of communication, people come into contact and negotiate with each other and their instruments/tools and meet themselves in it.
Music to me is… my work. I've landed in the best job in the world, where a core task is to discover new music, to learn its internal logic and aesthetics, who created it, and why.
Music is the fanciest way of communication.
When there are two grand pianos for a concert, one of them is usually prepared. Rosenbaum had three (!) without using a single screw, coin, or ping-pong ball.
Smag På Dig Selv convincingly illustrates the age-old punk dictum that you can be angry and still have fun at the same time.
»I love being part of the ritual that heals our forgotten connection to nature, which is the very foundation of our lives.«
»When the gloom returned with renewed force, it was Kjærgaard who, with a roaring guitar, sprawled across the emotional abyss. It was beautiful and brutal.«
As a listener, there is nothing to do but surrender to Amalie Dahl and the group’s convincing display of strength.
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.
»Enchanting. One left KoncertKirken a little taller, happier, and more playful.«
»Cohesive, yet lacking challenges for the listener – such is the impression left by Josefine Opsahl’s new work.«
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.
»Music is like an ancient mineral, containing a history of wisdom reaching over centuries, stratifying and evolving into new forms.«
»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.
The surprises keep lining up in your ears with Xenia Xamanek’s new hybrid work on repeat.
Sól Ey and Ryosuke Kiyasu both confronted the boundaries of sound with uncompromising dedication, demonstrating that sound art is not just about playing – but about transformation.
A world so distant from the inferno of Roskilde that one can hardly see where the ends meet. But they do, that night at Roskilde.
It is hard not to feel almost physically exhilarated by the album’s intense contrasts between presence and destruction.
On half of the tracks Hammerstrøm demonstrates that he is capable of creating truly beautiful music.
They have a bivouac, a couple of churches and a cultural festival – in northern Norway, Kirkenes, people are prepared if the worst happens.
How comforting, after so much menial self-investigation, to finally be told exactly what it is that you need.