Peter Jørgensen ”Alt i stykker” (No Technique, 2019) – review by Giuseppe Pisano

Along the years Peter Jørgensen has developed a compositional style that shares common elements with both the new wave of Scandinavian electronic ambient music and the modern-classical long form experimentations of either minimal-music composers such as Morton Feldman and more recent figures in the contemporary music panorama such as Anthony Pateras.

In this sense his new album “Alt i stykker” continues the statement made with the previous release, “Gold Beach”, and delivers us two formally beautiful long pieces of what I would define as instrumental drone music.

Ursula Nistrup ”Cosmic Desert” (Resonans Recordings, 2019) – review by Wieland Rambke

In just a few weeks, on July 20, we will see the 50th anniversary of the moon landing. With mankind setting foot in outer space, we ourselves have become aliens: An extra-terrestrial species roaming the universe, visitors from a far-away planet. Should Elon Musk’s fantasies of space travel and interplanetary colonialisation come true, then being aliens will become part of what we are as a species.

The Alien and the Familiar play a crucial role on Danish artist Ursula Nistrups release ”Cosmic Desert“ which was conceptualised by Nistrup and realised by sound designer Peter Albrechtsen. The album presents two sound pieces that originally were used in her solo exhibitions.

Af Alexander Julin Mortensen

Natal Zaks er en umådeligt produktiv elektronisk musiker, der efterhånden ikke længere kræver den store introduktion. Som involveret i pladeselskaberne Help, Regelbau, No Hands, SAINO m.fl., og aktiv i gruppen Maizena og soloprojekterne Alle, Central, El Trick, Timeman og Palta har Zaks i senere år været én af de drivende kræfter bag aarhusiansk housemusik, der med rette har fået ros i både ind- og udland. Senest har han udgivet sit andet album, “Om Dans”, og EP’en “Presents 3 Tracks”. I den anledning bringer P/A et interview med ham samt ikke mindst et nyt mix, der bl.a. indeholder musik fra de hemmelige Øgade-arkiver og nye produktioner fra et ophold i Tel Aviv.

Af Mikkel Arre

Marco Egeberg har kaldt sit første album med synth-soloprojektet Skragn for ”Stund”. Men selv om titlen kan give associationer til noget afgrænset og umiddelbart, har LP’en været længe undervejs. De ældste af albummets otte numre har deres rødder helt tilbage i 2008, hvor de havde en ganske anden form.
I en årrække arbejdede Egeberg nemlig med akustiske instrumenter, som han samplede og byggede videre på. Men for nogle år siden fik han fornemmelsen af at være kørt fast rent musikalsk – og så gik han ud og købte sig en ny Moog-synthesizer, der snart fik følgeskab af flere andre gamle synths.

Live report by Cameron Pagett

Most of the crowd have finished their food in the lounge outside of Alice CPH on a mild and breezy spring afternoon. I nibble at a half-eaten chocolate chip cookie just after introductions to Alexandra Drewchin (Eartheater) and her harp expert travel mate, Marilu. It’s been only a couple minutes and we are already discussing the possibility of having my assistant, who also happens to be an opera singer, join her randomly for soundcheck to see if his skills would fit into their performance that evening.

Both fans, we are simultaneously excited and a bit awestruck that this is actually on the table. It’s only the beginning of the interview, and one of us is doing his best sales pitch and the other might end up on stage with a hero before the end of the night!