in brief
01.12.2021

門Mon – Port til ensomhed

Olga Szymula: »門Mon«
© Steffen Jørgensen
© Steffen Jørgensen

Under en konstant stråle af sand stod en performer. Sandet faldt ned over hendes skuldre, og det begyndte pludseligt at klø overalt på min krop. Der var helt stille på Teatret Gruppe 38. I komponisten Olga Szymulas 門Mon foregik al lyd binauralt i høretelefoner. Abrupte syntetiske lydflader, japansk oplæsning af fragmenterede tekststykker og evigt tilbagevendende elektronisk ødelagte korflader fløj helt tæt om ørene på os. 

Bag performeren, der langsomt begyndte at dreje rundt under sandstrålen, afspejlede abstrakte videoanimationer den komplekse lydside. Gennem animerede sandbølger, der konstant ændrede form, og forvredne, japanske naturbilleder rejste vi gennem en verden af ensomhed, hvor en fornemmelse af noget unheimlich var medpassager. 

At forsøge at forstå 門Mon til fulde var umuligt, og måske også overflødigt. Der foregik en sammensmeltning mellem kulturelle udtryk og traditioner. Alle forsøg på meningsdannelse blev forvrængede og afbrudte, som om de mange lag af sprog og udtryksudvekslinger mellem medier dannede deres egen utilgængelige virkelighed.

門Mon var med lyd, performance og videokunst i én samlet pakke højdramatisk og samtidig – uden at miste intensitet – uendelig langsom. Jeg sad i mørket, mens jeg blev opslugt af det evigt dalende sand, der faldt ned over performerens krop og fik indtryk af at være en del af en smuk eksplosion i slowmotion, i en verden fyldt med statisk dramatik. 

© PR

»Music is, to us, a kind of closed club of nepotism, networking and Copenhagen cowboy energy. But in reality, it’s got nothing to do with expensive guitars or technical skill. For us, music is something you can feel in your chest, or something that gives you goosebumps. The best concerts are when someone screams so earnestly that the rest of us don’t have to. The best music expresses emotions in a way that would get you picked up by an ambulance if you did it out on the street. For us, music should fuck with the people who have it too comfortable, and give those who have it fucked a feeling that they’re not alone. Boom. And what the fuck is a chord and a key anyway? Kisses from Nightmaries.«

Nightmaries blend saws, guitars and voices into a dark-country, no-wave, cowboy-doom nightmare. They create the kind of soundtrack that feels like a fever dream you somehow don’t want to wake up from. As the world gets stranger and darker, Nightmaries lean into the madness, serving up slow-burning songs that creep under your skin like a poison that takes its sweet time. Put on your favourite steel-toe boots, dip your smoky eyes in an ashtray, and prepare yourself for sloppy doom with punk energy.

© PR

»To me, music is love. I love how music allows you to skip the small talk and connect directly with people’s innermost selves. It is an extraordinary and moving way to meet one another.«

Fenja wrote her first song at the age of twelve – about a polar bear dying due to climate change – and themes of existentialism, nature, and her own sensitive nature came to define the lyrics and sound she has since developed. She released her debut album, Flugtdyr, in 2021, and in February 2026, she released the album Menneskedyr.

© PR
© PR

Danish composer Sofus Forsberg has died at the age of 56. With his distinctive blend of melodic sensibility, electronic processing and rhythmic precision, he created a musical world that moved effortlessly between IDM, pop and the avant-garde.

© Simon Weyhe

»Music for me is my hobby, my job, my outlet, my mood, an endless source of discovering new music and new, old music, some of the best and can be some of the worst. And I love it!« 

Track72 aka Tue Track aka Anders Lundby Brixen. Producer, DJ, rapper and more. Known for his role in the trio Malk De Koijn, which since the mid-1990s has created a personal universe in Danish hip-hop. Has performed in Ponyblod, Xtra Naan, Track Abdullah Rock, Booty Cologne and others.

© PR
© PR

On Wednesday, 5 August 2026, it happened again: a chord in John Cage’s Organ2/ASLSP (As Slow as Possible) changed after two and a half years. Classic FM reports.

The work was written by the American avant-garde composer John Cage in the mid-1980s. The score consists of eight pages of music, and, as the title suggests, the instruction is to play it »as slow as possible.«