in brief
11.07.2025

Fata Morgana Between Two Continents

Niels Lyhne Løkkegaard & Michael Pisaro-Liu: »Fata Morgana«
© PR
© PR

Back in the day, people watched Beverly Hills 90210 simply because it filled the flow-TV schedule. Artist Niels Lyhne Løkkegaard, too, spent his youth wandering through those virtual Californian landscapes. In the project Fata Morgana, Løkkegaard and American composer Michael Pisaro-Liu explore this strange experience between place and fiction. With the alto recorder as their weapon, they invite us both home and away. And, as a nostalgic homage to bygone media realities, the project comes with an A-side and a B-side. It begins with »Visit«: the crackle of forest floor near Løkkegaard’s childhood home in western Jutland, recorded in 2021. The microphone is placed somewhere, a few steps are taken – and then silence... Far away, the alto recorder begins a melody surrounded by birdsong. This homely soundscape is woven into the listener’s own sense of place. Was that a car driving by – here? Or there?

On the B-side, »Visitation«, Pisaro-Liu repositions the flute piece in California in 2024. The tension rises; the melody is visited and haunted from the other side of the globe. It is disturbed and distorted by electric signals, siren tones, interfering noise, and fragments of American voices murmuring things about »fever dream« and »not anything in particular.«

For indeed, there isn’t really anything. It’s classic Løkkegaard: an imagined world unfolding in the listener’s mind. It could have been done in less than 2x22 minutes, but the idea is strong, simple, and well executed. Like the sonic version of a cartoon mirage shimmering falsely in the sharp Californian sunlight.

English translation: Andreo Michaelo Mielczarek

© Mads Nissen
»Music is what gets my gears turning. It sets both my body and mind in motion – and on a good day, even gets them up to speed. My listening habits are entirely shaped by my mood... and by the musical tastes of my two children, which shift every eight minutes... so the home stereo gets exposed to a bit of everything. In a way, that’s exactly how it should be. Room for everything and everyone.«
 
David Dyrholm (b. 1990) is a food and music critic for Politiken, focusing on jazz – ranging from the traditional to the modern—and avant-garde music. Alongside this, he has worked for the Modern Jazz Days festival, served on the jury for the DMA Jazz awards, and previously released a number of records with the hip-hop collective DoktorDoktor.
in briefrelease
25.09

An Organ in the Dark Forest of Doubt

Calum Builder: »Although Changed, I Arise the Same«
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© PR

Last year, Builder released Poor_in_Spirit, an album in which he explored, on his own, the sonic possibilities of his self-built organ. It was an album shaped by this exploration, but ultimately also by the limitations of the organ itself. On Although Changed, I Arise the Same, the composer finds a way beyond them.

The organ is now joined by three additions: Builder’s own alto saxophone, along with the voices of Zola Mennenöh and Johanna Sulkunen. It makes all the difference, providing the diversity of instrumentation that Builder has repeatedly demonstrated his ability to compose for. At times, the organ’s bass sinks beneath the voices and saxophone like a light haze; at others, it envelops them in a heavy fog. It howls like wind in the trees and roars like a train in the night. Mennenöh and Sulkunen sing, chant and breathe simple, repetitive phrases about spiritual uncertainty and searching, as though lost in the dark forest of doubt.

It is a Spartan form of storytelling, giving the listener enough lyricism and atmosphere to set the mind in motion, but never so much that it becomes overwhelming. This is where Builder’s strength lies: his music clearly grows out of his life and experiences, yet he composes in such a way that the listener is invited to enter the story with their own imagination.

Builder determines the colours, but leaves part of the picture to the listener. It is an album that is far more restrained in its dramaturgy than previous releases. No less beautiful or inspiring for it.

English translation: Andreo Michaelo Mielczarek

© PR

»For us, music is a transcendent force with transformative potential – something we get to experience and shape when we create sound together. It is an opportunity to describe one’s innermost universes without words, and the best way for an introvert to express intense emotions at full volume.« 

With roots in Copenhagen’s experimental jazz and punk scene, Echo, Bravo challenges the notion of what a rock band can sound like. The quintet blends post-punk, free punk, and noise rock into a raw and unpredictable soundscape. They describe the music themselves as a kind of »empty-the-fridge soup,« where various leftovers come together. »Best enjoyed as a hot meal in a cold industry.«

 
 
© Ultima
© Ultima

Thorbjørn Tønder Hansen has died. With Thorbjørn’s passing, the art music community has lost one of the Nordic region’s most significant producers, curators and cultural leaders.

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»Music is the best way to discover myself and understand the world around me.«

Luca Quintavalle is a harpsichordist, fortepianist and conductor. He has performed with ensembles including Concerto Köln, Harmonie Universelle, the Mozarteum Orchestra Salzburg and the Kölner Kammerorchester at venues and festivals such as the Kölner Philharmonie, Salzburg Festival and Enescu Festival. He was harpsichordist of Les Musiciens du Prince, led by Cecilia Bartoli, for over five years, and has conducted ensembles including the Orchestra and Chorus of Teatro dell’Opera di Roma, Concerto Köln and Deutsche Kammerakademie Neuss. His recordings include Mirrors, released by Berlin Classics and awarded an OPUS KLASSIK.