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Rosendahl synger Rosendal. Det hænder ikke sjældent, at jeg bliver spurgt, om jeg er i familie med digteren Jens Rosendal. Svaret er desværre nej, for ham gad jeg godt være i familie med. I efteråret 2023 satte jeg mig i bilen og satte kurs mod Jens Rosendals hyggelige stråtækte hus med udsyn over Vadehavet i Ballum. Med hjemmebagt æblekage på bagsædet, og en kæmpe portion ærbødighed, drog jeg afsted for at møde mit lyriske forbillede. Jeg havde året forinden besluttet mig for at skrive mit første danske album, og havde brug en god kollegasnak med en mand, der trods sine 91 år fortsat, i den grad, kunne noget med ord, sprog og musik. Det var lidt af en drøm at tale med ham. I timevis snakkede vi om alle mulige gode emner. Børn, politik, kærlighed, næver, identitet og ikke mindst, sproget. Jens gav mig et råd med på vejen: “Du skal gå bagom sproget, for at finde din egen stemme”. De ord ringer stadig i mig. Jens anede ikke hvem jeg var, men det gjorde bare det hele endnu smukkere. Få måneder senere, stillede Jens træskoene. Nu bor han i havet, han kunne se fra sit lille hus. I vinden der blæser omkring os alle. I min hjertekule. Jeg er trist over at han ikke er her mere, men han vil genopstå hver gang, vi synger hans ord. Det er derfor også med stor ydmyghed, at jeg har indspillet Jens Rosendals kardinalvise Forelskelsessang eller Du kom med alt det der var dig, som den er kendt som i folkemunde. Med denne tekst sprang han ud som homoseksuel. I 3. vers skriver han: “ Din næve var så varm og god” og netop i ordet næve, kan lytteren subtilt forstå at dette er en tekst skrevet fra en mand, til en anden mand. Næven, er dermed et kardinalord i teksten, og i dette lys har den franske kunstner Anais Pais skabt grafikken der følger med sangen. 2 næver, der holder hånd. Leve Rosendal

Here's a little something - mostly for Danish speaking folks. Godnatkoncerten is a joint venture by writer par excellence Adda Djørup and me. We have collected inspiration from lullabies, fabulating literature, hymns, film noir and more to make a "goodnight concert" for grownups that integrates text, sologuitar and electronics. It is gentle, soft, strange, sorrowful and humoristic while both soothing and slightly disturbing. Credits: Adda Djørup: Text, voice Mark Solborg: Music, guitar and knobs Alma Solborg Burian: Clarinet (part 2) Recording and mix: Peter Barnow and Mark Solborg Master: John Fomsgaard, Karmacrew Artwork: Adda Djørup Layout: Sofie Winding Editor: Julie Paludan-Müller Support: Statens Kunstfond and Autor

AySay’s debut album Su Akar is a vibrant fusion of Danish and Anatolian musical traditions, blending ornamental guitar figures, the saz, and powerful glissandos into a mesmerizing soundscape. Led by Danish-Kurdish artist Luna Bülow Ersahin, the trio—featuring drummer/producer Aske Døssing Bendixen and guitarist Carl West Hosbond—seamlessly weaves languages, styles, and cultures into a singular musical experience. The album’s title, Su Akar (Turkish for “When water flows, it finds a way”), reflects its fluidity, transitioning effortlessly between Danish, Turkish, Kurdish, and even a made-up language with Turkish-inspired tones. Tracks like the titular “Su Akar” showcase this natural flow, combining Danish verses with fiery violin and distorted guitar that rise and fall like gentle waves. Ersahin’s rich, emotive vocals shine throughout the album, from the heartfelt Danish ballad “Guld og Grønne Skove” to the rhythmic and ritualistic “Xong – Bre,” where her gliding glissandos add a unique dynamism. With contributions from guest musicians, including Frederik Snæland on piano and virtuoso baglama player Orhan Özgür Turan, Su Akar balances Nordic mysticism with the funky energy of Anatolian rock. The result is a genre-defying masterpiece that celebrates cultural diversity, storytelling, and the transformative power of music. A standout in the Nordic and world music scenes, Su Akar is as profound as it is innovative, drawing comparisons to acts like Sigur Rós, Sorten Muld, and Kalaha. It’s an ode to connection, identity, and the beauty of bridging worlds.

The Paper Trio was created when Thomas was asked to play a concert at a Paper Museum/Gallery in the countryside of Denmark. Luck had it that Randi and I became the other two musicians in the band. But the gig had its caveats—we could only get paid if we used actual paper to make our sounds. So we all scrambled to find interesting types of paper in the studio there and briefly practiced incorporating these sounds into our normal trio world. Lo and behold, it worked! The public loved the paper sounds, and the Paper Trio was born. After that concert, we were inspired to take this trio into the studio and capture these sounds, and more. You can hear the recorded sounds of paper stamping machines and other paper fabrication machines being used. Each piece was introduced in the studio simply with a mood or title, and then we started to play. We hope you enjoy this effort as much as we have enjoyed making it.