Andreo Michaelo Mielczarek _._._._._._._._._._._._._._._._.

… Poppeltræerne findes også og popper op omkring os overalt på vores rejse ned gennem Europa/Polen mod #Kyiv en tidlig mandag morgen ❤️

MaerzMusik i Berlin åbnede med 50 klaverer – og modige eksperimenter, der ikke altid landede. – Mathias Monrad Møller & Andreo Michaelo Mielczarek /en/article/it-sounded-wild-did-it-last MaerzMusik in Berlin opened with 50 pianos – and bold experiments that didn’t always land. Mathias: I was blown away by Luxa Schüttler’s i wd leave leaf & dance (2022/26), presented in a new ensemble version in the concert’s second half. A wild ride through ever new and surprising musical ideas. I felt as if the crisp electronic sounds were vibrating in the air in front of the ensemble. Andreo: Agreed. It’s a shame you missed Meredith Monk. People were lining up in long queues. She could easily have filled another hall. The 83-year-old American sounded like a slumbering volcano, or like several animals at once; tingling, clicking, she moved across the stage like a kabuki dancer, flanked by the vocalists Katie Geissinger and Allison Sniffin. The great storyteller’s range remains unpredictable. The voice still enigmatic in »Gotham Lullaby«. Amid the festival’s often concept-heavy program, Monk – who has been described as a post-minimalist – represented something elemental: the voice as our oldest technology. During her stay, Monk received the Berlin Art Prize and concluded by singing »Happy Woman«. So much hope wrapped up as art on a March day in Wilmersdorf! #musica #art #artist #culture #berlin

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? – Andreo Michaelo Mielczarek /en/article/ctm-festival-berlin-electronic-gps-still Igen i år lærte jeg, at det giver mening, at CTM foregår i den tyske hovedstad, som jo er berømt for sit Haus der Kulturen der Welt. Kl. 03.30 om natten stod man pludselig midt i et globalt soundsystem, hvor rytmer krydsede hinanden på tværs af kontinenter. Hvor egyptisk rap, Guadeloupe og Bristol for en stund kunne mødes som overlappende signaler. #art #berlin #music #music #artist

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. – @andreo__michaelo @seismografmag I Seismograf er Borealis ofte blevet beskrevet som en festival i sit eget tempo. Sanne Krogh Groth fremhævede i 2015 det uprætentiøse, men omhyggeligt kuraterede program, mens Sune Anderberg noterede en »næsten klaustrofobisk feelgood-stemning« omkring festivalens »safe space-politik og fælles vinterbadning.« Robert Barry kaldte det i 2017 en »inescapable warmth«. Patrick Becker skrev i 2025, at »Borealis lover eksperimentel musik, men falder igennem i de traditionelle koncertformater.« Spørgsmålet er, om det – som Jan Topolski formulerede det – i sidste ende er erfaringer, snarere end værker. På årets festival, den sidste med Peter Meanwell ved roret siden 2015, var fællesskabsritualerne allestedsnærværende. Også i år var vi i sauna sammen. Den canadiske kunstner og hypnoterapeut Julia E. Dyck inviterede til Trance Bath: »Drawing on hypnosis, queer bathhouse culture, and Finnish traditions, Trance Bath uses sound and ritual to investigate how bodies can synchronise, release tension, and attune to one another.« The floating sauna Laugaren is beautifully situated by the fjord. Designed by the architects Utopic, it is built from exquisite wood and resembles a work of art in itself. But Trance Bath drowned in guided meditation, small chimes, and too much talking. 📸 @_miriamlevi_ @thorbrodreskift #music #wellness #art #artist #norway

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. – Henrik Marstal Der er ganske enkelt noget ved Cisternernes grandiose radikalitet, som passer godt til performancekunstneren Marina Abramovićs kunstneriske dagsordener. Og det bliver bedre endnu, for til trods for – eller måske på grund af – værkets gennemgående voldsomhed er Abramovićs filmiske operainstallation Seven Deaths utroligt livsbekræftende. Derfor: Enhver i hovedstadsområdet, som netop nu befinder sig i en mere eller mindre radikal livskrise, burde begive sig ned i Cisternernes dyb under Frederiksbergs muld og bruge en time på at opleve, hvad der udspiller sig dér. Det kan kun hjælpe, er jeg overbevist om. #opera #copenhagen #art #artist #music

På kunstfestivalen Barents Spektakel bliver krig, grænser og vibrationer omsat til lyd, samtale og kunst i Europas nordligste randzone. – @andreo__michaelo @seismografmag Kirkenes lies 15 kilometres from the Russian border – a white edge zone facing east. Snow falls in minus 21 degrees Celsius, the fjord heavy and grey. It looks like a remote periphery. Yet beneath the surface the landscape vibrates. At this year’s Barents Spektakel, it was precisely these vibrations that took centre stage. Down in a cave in the middle of town, two electronic musicians from opposite parts of the world – American Mark Bain and Ukrainian Khrystyna Kirik – performed The Core. Seismic data from Kharkiv and Kherson, cities marked by war, were transformed into sound: low-frequency waves, dense drones, metallic overtones and trembling high-frequency textures. Bain, who previously recorded the tremors in New York during 9/11, works with the hidden frequencies of buildings and the earth itself. In Kirkenes, the vibrations travelled through the rock walls; the bass pressed heavily against the chest. The body became a resonance chamber for distant explosions and subterranean shifts. 📸 Alexey Tsalko #north #norway #art #artist #culture

Emily Brontës stormomsuste kærlighedsdrama om Cathy og Heathcliff har længe stået som selve symbolet på vilde, ustabile følelser under Yorkshires forblæste himmel. Det er som regel Kate Bush, der fremhæves for den definitive “Wuthering Heights”-fortolkning fra 1978. Men nu har den britiske sanger Charli xcx taget springet og skabt et helt album til “Wuthering Heights”, instrueret af Emerald Fennell. Albummet åbner tungt med en duet med John Cale, hvor knirkende strygere og dyb, mørk rumlen slår den gotisk-romantiske tone an med post-industriel pop. Strygerne løber som en rød tråd gennem resten af pladen; synthflader driver som dis over moserne, og beatsene hamrer som galopperende hjerter i stormvejr. Uhyggen breder sig på “Eyes of the World” – med deltagelse af den amerikanske sanger Sky Ferreira. Kærligheden fryser om muligt endnu mere på “Chains of Love”. Det er ikke et traditionelt soundtrack, men et selvstændigt værk; inspirationen fra Brönte er tydelig, men Charli xcx bevarer sit eksperimenterende instinkt i stedet for at levere baggrundsstemning. Hvor Brat badede i neon og klubekstase, tør hun her nedtone stroboskopet. Selv de mest dansable passager er filtreret gennem skygge, Velvet Underground-kulde og bare gode melodier. Det er overraskende rørende, hvordan Charli xcx balancerer teatralsk patos med nøgen intimitet og hyperpop. “Wuthering Heights” er et stærk konceptalbum. Faktisk et uhyggeligt stærkt album inspireret af en historie mellem to mennesker i 1800-tallets England. Læs mere i @kristeligt_dagblad #music #album #art

I wrote some words on Chicago cellist Ishmael Ali’s debut: Summing up Burn the Plastic, Sell the Copper is not easy. There is constantly something in motion, something brewing. Even when the #music approaches something relaxed, new rhythms #grind beneath the surface. It is a mess – but a poetic, intelligent, and beautiful one. As challenging as the album can be to step into, it is just as difficult to leave behind. #sound #art #jazz

I went to Warszawa and Łódź with photographer Nanna Kreutzmann for the Danish newspaper Kristeligt Dagblad – exploring two cities shaped by history, resilience and raw beauty. @mateuszgessler made Kotlet mielony wieprzowo-wołowy z chipsem z szałwi. We even visited one of the world’s deepest pools, Deepspot (🙏🏼 @emilienoire ) If you go, don’t miss Hotel Warszawa, the atmosphere of Praga, and the cinematic textures of Łódź. By the end of the trip, we finally understood why David Lynch was so fascinated by this city. https://www.kristeligt-dagblad.dk/rejser/warszawa-i-bevaegelse-mellem-rytme-historie-og-hoeje-udsigter @wodka_gessler_na_widelcu @hotel_warszawa @warszawawschodnia #warszawa #lodz #poland #polska #travelling

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. – Andreo Michaelo Mielczarek @seismografmag Hvor ellers skulle Bára Gísladóttir lade sit nye orkesterværk DÆGRIN få urpremiere end i luksuslineren af et musikhus, Harpa – naturligvis under Dark Music Days, midt i þorri, årets mørkeste fase i den gamle nordiske kalender, hvor den fjerde vintermåned begynder en fredag mellem 19. og 26. januar? Næppe noget sted. … Efter Bára Gísladóttirs impro-koncert kunne man se formanden for komponistforeningen bære hendes kontrabas ud af Harpa. Et lille, men sigende billede. Måske bor miraklet ikke i eksporttallene eller myten om det unikt islandske, men i det praktiske fællesskab: at man bliver og hjælper, at man deler håndboldskærmen og lytter til hinandens musik. #music #art #artist #north #listen

Det var ikke en højtidelig fejring af den aldrende digter. Det var en arbejdsplads fyldt med friktion. På Phono sang Laugesen – ja, sang – livets prosa hen over en mur af lyd. Stemmen skar sig ind mellem den buldrende bas og lilletrommens grus. Han talte om »løs aske i øret«. Man gik derfra med netop dét: en sitren i hørelsen. – Andreo Michaelo Mielczarek /da/kortkritik/aske-i-oeret At Phono, Laugesen sang – yes, sang – the prose of life across a wall of sound. His voice cut in between the rumbling bass and the grit of the snare drum. He spoke of »ash in the ear«. You left carrying precisely that: a tremor in your hearing.

Debut in The Quietus today ✨ I write about Nilza Costa – born in Salvador de Bahia, now based in Bologna – and an album built around cantigas, sacred songs invoking the orishas through voice, drums and repetition as ritual. It’s music that rewards deep listening. Listeners drawn to Milton Nascimento’s spiritual introspection or Cesária Évora’s quiet gravitas will find much to resonate with here. Huge thanks to Robert Barry for the invitation. https://buff.ly/YvZn72j