what we immerse ourselves in

CTM Festival in Berlin: Is the Electronic GPS Still On?

Noemi Büchi. CTM Festival 2026. © Udo Siegfriedt

For a long time, CTM has served as a beacon for contemporary electronic music. But in an increasingly fragmented scene, the question arises: does the festival still show the way?

By Andreo Michaelo Mielczarek

review25.03

The Comfort of Art

At Borealis in Bergen, community is everywhere. But when everything is filtered through safety and intimacy, the music risks losing its necessity – and its bite.

By Andreo Michaelo Mielczarek
review18.03

We’ve Never Needed Pulsar Festival More

The major Danish composer festivals are starting to resemble each other more and more, but Pulsar Festival stands apart. Here, there is still more string quartet than performance art, making Pulsar an important alternative platform for new music – if only the festival itself would fully realize it.

By Sune Anderberg
review15.03

What Happens When the Mainstream Falls Short?

Marina Abramović lets herself be murdered, burned, and thrown to her death in »Seven Deaths« at the Cisterns – but the operatic canon voiced by Maria Callas tempers the radicality that has otherwise carried her art through an entire lifetime.

By Henrik Marstal

When the World Trembles, Kirkenes Listens

© Alexey Tsalko

At the Barents Spektakel art festival, war, borders and vibrations are transformed into sound, conversation and art at Europe’s northernmost edge.

By Andreo Michaelo Mielczarek

review18.02

A Country Built of Sound

Dark Music Days in Reykjavík offered everything from Bára Gísladóttir’s orchestral darkness to noise, seaweed and quiet song in Harpa – in a music scene where community matters as much as the export adventure.

By Andreo Michaelo Mielczarek
review04.02

Knausgård’s Apocalypse as Opera

Sebastian Fagerlund’s »Morgonstjärnan« transforms the novel’s existential unease into a powerful, collective musical drama.

By Andrew Mellor
review26.01

Sacred, Profane, and Unsettlingly Alive

Sacrum Profanum in Kraków offered intense sonic experiences and musical battles – but also performances where the idea outweighed the music.

By Andreo Michaelo Mielczarek

Matias Vestergård revisited

© PR

Revivals have moved onto the agenda among Danish composers, and this month two violent operas by Matias Vestergård benefited from the trend. What is it that makes him so good at writing precisely that kind of work?

By Sune Anderberg

review23.01

Universal Music with Local Truths

Local traditions play a central role in the second-ever Faroese opera, in which Sunleif Rasmussen reclaims a local story made famous by Wagner.

By Andrew Mellor
review12.12

When Bodies, Technologies and Whole Worlds Come Undone

From cyborg kinships and alchemical wonder to masculine fragility and Anthropocene ecstasy – MINU showed that art still holds space for vulnerability, ferocity and strange beauty.

By Macon Holt
review19.11

Turn it Up!

Charlottenborgs hyldest til Mika Vainio vil være en lydbiograf, men uden ordentlig volumen, mørke eller kontekst ender installationen som en oplevelse, man hurtigt glider ud af.

By Louise Steiwer