Intonal Festival 2019 – Snapshots from the peripheries

English May 8 2019

Intonal Festival, Malmö, April 24-28 – live report by Astrid Hald & Laura Juncker

Malmö’s annual Intonal Festival for experimental and electronic music celebrated its 5th edition by presenting a packed programme of acclaimed experimental artists and immersive sound experiences. For five days Inkonst – the city’s independent venue for experimental music and performance – was transformed into a lively red-and-black hub, where the friendly crowd could lounge in Red Light Radio’s sofa corner, party in the Club, mingle in the bar, or lie down on pillows and soak in music in the Black Box concert room downstairs.

Intonal pulled off a stunning festival. Through bold curating, which repeatedly sought to dissolve the barriers between art forms, and the unconventional use of venues, the festival initiated ongoing conversations on the way we engage in music and art, collectively, regardless of genre and formalities.

It is a refreshing injection of something unapologetically uncommercial in the festival scene, and indeed, just for a fleeting moment, it allowed you to forget that music and art were ever an industry and simply indulge in a pure universe of experimentation.

Well-fed with talks, performances and parties, here we provide you with a couple of snapshots and highlights from Intonal Festival 2019.

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Mini Esco – Øjeblikke af patosfyldt ekstase

Kritik May 6 2019

Mini Esco “Life Force Energy” (Posh Isolation, 2019) – anmeldelse af Alexander Julin Mortensen

Københavnske Mini Esco debuterede tilbage i starten af 2018 med nummeret “Dreamer”, der udkom på opsamlingen “I Could Go Anywhere, But Again I Go With You” via Posh Isolation; et nummer, der satte mine forventninger højt til Mini Esco. Soloprojektet har dog først ladet høre fra sig igen her lidt over et år senere: Nu er Mini Esco nemlig endelig aktuel med sin egen debutudgivelse, minialbummet “Life Force Energy”, der ligeledes er udkommet på Posh Isolation.

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Caterina Barbieri – Maksimal emotionalitet i det minimalistiske maskineri

Kritik May 3 2019

Caterina Barbieri “Ecstatic Computation” (Editions Mego, 2019) – anmeldelse af Alexander Julin Mortensen, foto af Jim C. Nedd

Italienske Caterina Barbieri er atter aktuel med nyt materiale efter både at have udgivet albummet “Born Again in the Voltage”, en split-EP og værket “Songno Che Suona” sidste år. Med “Ecstatic Computation”, der udkommer via Editions Mego, vender Barbieri tilbage til et musikalsk udtryk, der umiddelbart har mere til fælles med “Patterns of Consciousness” fra 2017 end hendes seneste udgivelser.

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Panser Kone – At gemme små huskesedler i musikken (interview)

May 1 2019

Af Ida Selvejer Faaborg

Frederik Skyum Carlsen har med navnet Panser Kone netop udgivet albummet “Drengene Hører Kidd Mens Jorden Går Under” på eget label Air System Play Like Air / Fantasy Forever. Med dette første egentlige fuldlængdealbum har han ønsket at arbejde med længere kompositioner, som kunne stå for sig selv. Resultatet er otte numre, der udforsker forskellige genrer fra trap til bossa nova, hvor der både bliver gjort brug digitale og akustiske elementer.

På nogle af numrene får forskellige melodier, lydbilleder og stemninger lov til at vandre i mange forskellige retninger, hvor andre af numrene er mere konstant i det lydlige udtryk og bevarer samme grundrytme. Fælles for dem alle er, at de indeholder melodier, vokaler, samples og forskellige referencer, indspillet eller inspireret af venner, som er blevet klippet op og arrangeret efterfølgende. Følgende er et interview om Frederik Skyum Carlsen arbejde med Panser Kone-pladen, der er lavet på mail i slutningen af januar.

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sega bodega & CPH Power – More than a show

April 29 2019

Reportage and photographs by Cameron Pagett

The room of Pumpehuset’s main stage is empty. Empty but for two zany lighting technicians playing DJ to a pair of blinking strobes. On the main stage, there is a metal bar holding a tapestry of thin, vertical, clear plastic panels, which hold a keyboard in a tiny enclosure surrounded by LED lamps quaintly behind them. Directly to the right of this shrouded in a blinking and immersive cold blue hue, sits a bed accompanied by a disco ball and a guitar. I nestle into the front of the installation and breathe in the musty air coupled with hour-old smoke after soundcheck and admire the work of the Knife crew in preparation for this first show back in Pumpehuset in over a year. It was a different time then, and yet the same characters line the patio from that previous season enjoying pre-show catering and artist only beer. In a haze, drinking what is left of a Tuborg classic long past its Carbonated best, it’s obvious and nearly joyous that the minds which brought us so many great shows in our city still remain sharp and growing, save for the fact that the show still has to transpire. All those people outside who had beckoned me in to survey the set-up were right. It looks very good.  Anticipation starts to sneak in and the first note has not yet stung the room.

It’s a inquisitive and strong line-up for this maiden Knife performance. With ML Buch, CPH stalwarts CTM, Lyra Valenza, Croatian Amor and UK genre wizard sega bodega, there were plenty of reasons to be in attendance. For many mingling in the backstage area, other reasons include the freely poured Gin & Tonics along with other assortments of alcohol and snacks. Wandering out to the downstairs stage hemmed by some outstandingly alien hanging sculptures from the mind of Knife Co-founder Magnus Holger, the first of the night’s crowd sifts in among a warm orange light garden. People mingle and order from the bar and try on merch as the new very cool Knife Performance T-shirts are unveiled. Its already a cozy evening and many friends pass by before the first sounds lull the crowd to silence. Knife is back and it feels to many like coming home.

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