Seismograf

Hjem
Danmark
Copenhagen
Seismograf

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

29/07/2026

Danish musician, author, and artist Martin Hall has died at the age of 63. According to his family, he passed away from a heart attack at his home in Frederiksberg on Tuesday, 21 July.

Since the early 1980s, Hall left an indelible mark on Danish music and cultural life – first with Ballet Mécanique and Under For, and later through an extensive solo career that moved effortlessly between experimental music, electronic pop, poetry, performance, and literature. He leaves behind one of the most substantial discographies and bibliographies in Danish cultural history.

Even in the later years of his career, Hall continued to push the boundaries of sound. On Inkubation (2023), created in collaboration with producer Thomas Li, he delivered some of his most uncompromising work in years: a dark, experimental sound installation in which philosophical spoken-word poetry merged with analogue soundscapes and contemporary ambient music.

»Denmark has lost one of its most original and persistent artists – one who was also held in high regard internationally,« his family wrote in a statement announcing his death.

Martin Hall was 63.

15/07/2026

Det første, der rammer én på Aros' Ulydig – Kroppen i punk, er ikke hundehalsbånd, læderjakker eller netstrømper. Det er lyden. Den buldrer gennem rummene. Her bliver støjen ikke kulisse, men kunstnerisk materiale.
– Andreo Michaelo Mielczarek

Can rebellion survive inside a museum? ARoS’ exhibition on takes sound seriously. Here, noise is not a backdrop but an artistic medium. Unruly shows that punk’s energy does not necessarily disappear when it enters an institution. Only two things are missing: the chance to experience the exhibition at four o’clock in the morning – and a lavish catalogue bound in latex.

14/07/2026

»Musik for os er den følgesvend, du har gennem livets op-, ned-, druk- og røvture. Der findes ikke den følelse, vi ikke hver især har et indre soundtrack til. Det er så dejligt universelt, at musik trigger stemninger og understøtter følelser.«

Barcode spillede et par hundrede shows rundt i Europa i 90’erne og 00’erne sammen med bl.a. Madball, Agnostic Front og Hatebreed og udgav fem fuldlængde albums. Det aahusianske band spiller sin første koncert i 18 år som headliner på Support Our Scene-festivalen i Fredericia i august.

14/07/2026

With deceptively simple means, Poetics of a New Estate dissolves the boundary between nostalgia and contemporaneity. Like a true cyborg, Soli City reveals the divide between the digital and the acoustic to be less a fundamental opposition than an oddly arbitrary construction.
– Martin Funder

Soli City formår at bearbejde skellet mellem det nostalgiske og kontemporære med relativt simple virkemidler. Og som en sand cyborg, udstilles grænsen mellem det digitale og akustiske som en absurd banalitet.

13/07/2026

Festspillene i Bergen lovede »uendelig kjærlighet«. Jeg lyttede godt efter – og fandt den i alt fra middelalderlige madrigaler til popballader på tværs af århundreder.
– Andreo Michaelo Mielczarek

»Welcome to 15 days of endless love,« festival director Lars Petter Hagen wrote in the hefty festival catalogue beneath the heading »Cosmic Love«. Such mission statements can easily sound like cultural-policy aromatherapy. After all, love sells better than loneliness, inflation or geopolitics.

So I arrived halfway through the festival with a healthy dose of scepticism. I had missed Mahler staged as total theatre, Messiaen’s ecstatic Turangalîla-Symphonie, Purcell’s tempestuous Dido and Aeneas, and Esa-Pekka Salonen conducting the prelude to Tristan und Isolde. My first concert instead took place in Håkon’s Hall with South African cellist and singer Abel Selaocoe and his Bantu Ensemble. South African songs, overtone singing, extended cello techniques and Marin Marais’ »Les voix humaines« merged into something that sounded as much like Johannesburg as the French Baroque.

I had never heard Marais like this before. During the concert I stumbled across a comment beneath Selaocoe’s Tiny Desk Concert on YouTube: »As a Japanese, I felt a mysterious divinity in him, as if being guided by the Buddha.«

The audience inside Håkon’s medieval stone walls surrendered just as willingly. Perhaps the festival’s »cosmic love« was less grandiose than its slogan suggested.

📸 Øystein Haara / Carte Blanche

12/07/2026

Sound of democracy: Towards the democratisation of standards for soundscapes

New audio paper by Sandra Kopljar , Phil Dodds, Mark Grimshaw-Aagaard, Sanne Krogh Groth, Clara Gustavsson, Marie Koldkjær Højlund, Kristoffer Mattisson, Dalia Mukhtar-Landgren, Enrico Ronchi

With this audio paper, our aim is to explore the connection between sound and democracy. Recognizing the multifaceted nature of this field, we approach it through the notion of care and an empirical analysis of the democratic implications of trying to regulate sound in public spaces. We examine ISO standards as one example of the many attempts to control sound in both public and private spaces. Standards are used to categorize, govern, and control. They are also tools to assess and characterise. As policy tools, they raise democratic questions relating to who developed them and to when and how they are used. Using the example of a shopping mall, we explore the democratic values reflected in the standards through an inter-disciplinary perspective. We move from discussing the process of developing the soundscape standards to applying them in a real-world setting, ultimately exploring the consequences of such standards from the perspective of democratic values. In doing so, we address the question of sonic citizenship and how public space is enacted, negotiated, and experienced through sound. The audio paper is a result of weekly exploratory processes and discussions during the authors’ nine-month affiliation at the Pufendorf IAS (Institute for Advanced Studies), Lund University.

09/07/2026

Lotte Anker og Fred Frith mødtes i et samspil, hvor stoisk ro og frenetisk guitararbejde smeltede sammen til fri improvisation med både tyngde og skønhed.
– Kristoffer Møllegaard

They hardly looked at each other during the set, yet seemed completely absorbed in the sound they were creating together. At times, the music was knotty and difficult to pe*****te: un-guitar-like tones, percussive attacks, almost rock-like passages, rapid saxophone runs, long sustained notes, noise and overtones. Like a riddle that had no desire to be solved. At other moments, Frith created clear drones over which Anker moved with melancholy grace, sensuous and beautiful. It sounded like a wordless tale of darkness, fear and uncertainty, but also of light, hope and togetherness. The essence of life distilled to the meeting point between two of jazz’s great singular voices.

08/07/2026

På CC Taste gjorde Søren Kjærgaard, Kresten Osgood og Christian Lillinger restauranten til en scene for fri improvisation, hverdagsstøj og anti-møbelmusik.
– Kristoffer Møllegaard

Søren Kjærgaard at the piano, Kresten Osgood and Christian Lillinger each at half a drum kit, pak choi with shiitake mushrooms and rice. Free jazz and Chinese cuisine may not be the most obvious combination, but on Wednesday evening at CC Taste it proved its worth.

Good food and good music have a great deal in common, but fortunately they did not dissolve into some mythical, rather uninteresting higher unity. Instead, the evening thrived on the friction between two separate sensory spaces: the concert and the restaurant, listening and eating, free improvisation and the everyday dinner scene. Satie might well have turned in his grave. I loved it.

08/07/2026

Fra gammeltestamentlig visdom og hippiedrømme om fællesskab til erotisk natklubsstemning og mørkt rumlende techno. Roskilde Festival anno 2026 er et vildt ridt gennem tider, genrer og mentale geografier – og et godt sted at øve sig i at bære drømmene varsomt gennem vor tids ekstreme tilstande.
– Rasmus Steffensen

We have to prepare ourselves for extreme contrasts, and Roskilde Festival remains a good school in that regard. Where else can you move directly from Almaguer’s grim prophecies and painful experiences to Addison Rae’s hyper-energetic sugar rush of a pop show, and then on again to Los Thuthanaka’s psychedelic meltdowns, obsessive rhythms and tripped-out guitar figures that sound as if krautrock had been born in the Andes?

If one can speak of a kind of musical jet lag – the sensation that arises when you are abruptly shifted from one musical zone to another – then Roskilde Festival is surely where you find it. It can certainly become too much, but the turbulence it creates also has a way of making you receptive and raw-skinned in ways you rarely become at ordinary concerts. And to my mind, that is one of the crucial points of festivals like Roskilde.

07/07/2026

The drum and the community: Unboxing sonic cultural heritage

New audio paper by Jacob Kreutzfeldt, Daniela Bretes Maciel Elneff, Mads Kullberg, Mikkel Ellersgaard Sørensen, Anne-Sofie Udsen.

In this audio paper we will explore aspects of sonic citizenship as expressed through a cultural heritage object: the town drum. Town drums are central to Danish cultural history and have been used as tools for civic communication – to regulate, warn, gather, represent, built and connect communities. This audio paper focuses on one drum: the town drum used in Struer from mid 19th century to around 1930 – now part of Struer Museums collection.

Due to preservative measures the drum is now almost silent and can only be touched gently by the museum staff. The paper follows our investigation of the drum and its sonic properties and functions within the framework of sonic citizenship. Building on Ahmed’s notion of stickiness (2014), Riegel’s concept of age value (1982) and Højlund et al. (2024) we investigate the affective potential in interactions between sound, object and listener. Listening to the city drum through gentle physical interactions and readings of archival and published sources, we explore how the sound of the drum has circulated notions of authority, identity, and territoriality, and we ask how cultural heritage objects like this might serve as entrances to historical sound cultures.

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