Seismograf

Hjem
Danmark
Copenhagen
Seismograf

Seismograf er et redaktionelt uafhængigt webmagasin, der stiller skarpt på den nyeste kunst i lydd

31/05/2026

Dungeon synth længes ikke efter en tabt guldalder. Genren bruger støj og patina til at åbne en samtale med fortidens fantasier, minder og spøgelser.
— Albert Grøn Klausen

Dungeon synth is less a longing for a lost golden age than a conversation with memory itself, carried by noise, decay, and the echoes of forgotten worlds.

What does nostalgia sound like? Is it a fragment of a childhood melody, a dusty cassette tape in a basement – or something more elusive that appears only in fleeting glimpses? In the genre of dungeon synth, it is neither old instruments nor authentic recordings that awaken the longing for what once was. Here nostalgia emerges in the noise, in the decay, and in the analogue shadows of a past that has long since vanished, yet still feels strangely familiar. In many ways, one might call it a nostalgic music. But is that really how it is experienced?

30/05/2026

»Music for me is osmotic refuge.«

Jungstötter is the solo project of Berlin-based songwriter and musician Fabian Altstötter, whose sounds linger in lyrical softness and formal fragmentation. Using voice as a centre point, as an axis that hinges off an assembly of instrumental experimentation, his work pulls together shifting lyric compositions with textured layering, and whispered moments of release.

29/05/2026

Ghosts Beneath the Brine sounds hauntingly gorgeous – but like the sublime spectacle of a shipwreck witnessed from a safe distance, it invites us to shudder rather than act. More ghost train than alarm bell, it offers catharsis where the moment calls for urgency.
–

Ghosts Beneath the Brine lyder hjemsøgende smukt – men som det sublime syn af et skibsvrag betragtet på sikker afstand får det os til at gyse snarere end at handle.

27/05/2026

Ny musik lever stadig – men ofte trods sin egen trang til kompleksitet og endeløs varighed. Det viste festivalerne i Witten og Köln.
– Jeppe Rönnow har besøgt de to festivaler Orbit Köln og Wittener Tage für neue Kammermusik

Coal, steel, and heavy industry created the Ruhr region. Much of Western Europe’s prosperity was built here, where the ground was filled with coal – the most important energy source of its time. But coal-burning belongs to the past, and in recent years North Rhine-Westphalia has attempted to forge a new identity through culture.

The state invests heavily in art and music: symphony orchestras, museums, theatres, and festivals. In particular, it seeks to attract international attention through new cultural initiatives and extensive programmes for foreign cultural journalists. Two of the most significant ventures are Orbit in Cologne – a festival for experimental music theatre – and Wittener Tage für neue Kammermusik in the provincial town of Witten northeast of Cologne.

Witten has only around 100,000 inhabitants, yet contains several music venues and an impressive concert hall with room for roughly a thousand people. Scattered throughout the city, the enormous industrial buildings of the coal era still stand as monuments to a vanished age. It almost felt like an apt metaphor for the festival itself: searching for small veins of gold in piles of dark material.

23/05/2026

It is wonderful music for drifting thought: a multicolored universe where the imagination continually discovers new pathways through a dense undergrowth of details.
— Kristoffer Møllegaard

På A Body of Water træder man direkte ind i den finske multikunstner Jan Anderzéns (Tomutonttu, Kemialliset Ystävät) helt egenartede lydunivers. Det er et kollageværk af fantasifulde melodier, skabt i samarbejde med britiske Paul Wilson (f.ampism, Yayoba), som bidrager på mere diskret vis til det farverige kludetæppe af lydtråde. Diskret, måske, men alligevel mærkbart. For detaljerigdommen i lydbilledet er høj, under de ofte omskiftelige melodier er der masser af små, friske skud, der higer mod trommehinden. Det er som en syredrøm, hvor hele verden omkring dig, alt fra blomsterne i vejkanten til flyvemaskinen i himlen, synger for dig.

22/05/2026

»To us, music is the definitive companion. As listeners, it fosters a sense of communion, bridging the gap between souls through the shared experience of sound. As creators, however, music confronts us with our own inner void, that profound solitude that nourishes the creative spirit. At the same time, it dares us to leap into the unknown to decipher the ineffable. Music anchors us to the present moment, to the 'now' shared with a live audience; yet, it also touches the eternal.«

L'arannà is an electronic folk duo. With their last project, Turmarí, the duo dives deep into the folk music traditions of the Pityusic Islands, offering – through their blend of sound exploration– a perspective on Ibiza and Formentera. Synthesizers and keyboards share the stage with traditional instruments and aesthetics inspired by the ancestral ball pagès dance. Reviving cant redoblat (a unique form of singing from these islands preserved by fewer than twenty people) the group weaves a narrative that traces the roots and lived reality of two islands that are far more than just a dreamt-of paradise. The band will be touring around Denmark and Sweden, from 27th to 31th of May, playing at venues like Turkis, Dexter, Inkonst or ALICE.

21/05/2026

Simon Littauers AI-projekt »Slopcore« lyder måske velkendt. Det er netop pointen
– Thomas Bjørnsten

Simon Littauer’s AI project »Slopcore« may sound familiar. That is precisely the point. Beyond being an entertaining listening experience, Slopcore can also be seen as a relevant – perhaps, in the current climate, even courageous – contribution to an ongoing and confusing debate about artistic integrity and authenticity in a cultural world that cannot decide whether it wants to resist or simply log in.

18/05/2026

While the industry talked about AI and formats, it was the bodily, fragile, and defiant musical experiences that lingered at Spot 2026.
— Therese Wiwe Vilmar & Andreo Michaelo Mielczarek
Foto/video: Kåre Viemose

https://seismograf.org/en/article/aarhus-music-refused-stay-its-lane

Andreo:
Headbangede du også i mørket i de røde plysstole i Lille Sal?

Therese:
Tæt på 🙂 Lueenas var nok den største oplevelse på Spot. Strygerduoen – Ida Duelund på kontrabas og Maria Jagd på violin – havde inviteret en trommeslager og vokalist med i klubben, nemlig scream-vokalisten Marika Hyldmar. Det var tungt, ondt og mytologisk, myriader af effektpedaler til bassen, hvor eksperimentel strygermusik møder heavy metal (ikke omvendt).

Andreo:
I Århus Bowlinghal gav Breadwinners en lektion i »screamomusic«, eller »Aarhus skramz«, som bandet selv kalder den. Skrigene eksploderede ikke brat, men sneg sig ind i musikken og satte sig fast i omkvædene. Rummet dirrede af løbske bowlingkugler, øl og fugtig støj.

Jeg deltog også i lanceringen af Line Tjørnhøjs app-installation PORTRAIT i Teater Refleksion. Værket hylder nulevende kvinder i magtpositioner og udfordrer forestillingen om, hvordan vi tænker monumenter. Med en iPad i hånden bevægede jeg mig rundt i rummet, da violinisten Christina Åstrand pludselig dukkede op på skærmen.

15/05/2026

»Music to me is movement, trance, transformation. The rest I won’t tell you.«

Marcela Lucatelli is a vocalist and composer. Born in Brazil and based in Denmark, she has gained international recognition for her boundary-pushing performances — sensuous, politically charged, and uncompromisingly original. Described by The Wire as a composer of »scores for the limits of bodies and voice,« Lucatelli challenges conventions with her fearless vocal experimentation and bold compositions. Her works have been performed by Danish National Symphony Orchestra, Danish National Vocal Ensemble, and Neue Vocalsolisten Stuttgart.

14/05/2026

»What is music to me? Here’s a quote from Nietzsche: ‘The people dancing all seemed crazy to the people who couldn’t hear the music.’«

Salim Washington is a saxophonist, multi-instrumentalist, composer, academic, and activist from Detroit who has been highly active on the American jazz scene since the 1970s, and also in South Africa, where he became a central figure. The spirit of John Coltrane hovers over his music, which carries both spiritual and social dimensions.

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