Feed

I’ve been carrying this piece with me for a long time.

From Havana to Jerusalem was born in 2017, after long conversations about Cuban music and hours of listening to recordings with Cuban musician Yohan Ramon. Somewhere in that exchange, I started hearing connections—Cuban rhythmic patterns weaving into the shapes of Middle Eastervn scales.

I recorded it in 2019, between Denmark and Cairo. And then… I left it. Not because I didn’t believe in it, but because I never found the right moment—or the focus—to finish it. In the meantime, it’s lived its own life on stage. I’ve played it with The Fifth String Ensemble, with Ensemble Storstrøm, and once even heard it carried across the airwaves on a live radio broadcast. Audiences have always responded warmly, but the recording itself remained in limbo.

Now, I’m finally back with it. I’m mixing it myself and plan to release it this winter. Before that, I want to share a few raw sketches from the process here—unfinished, but full of the journey that’s brought the piece this far.

Here’s the live version with ENSEMBLE STORSTRØM:

Concerto Copenhagen rediscovers Bach in their coming album ‘New Brandenburg Concertos’. 2NDmovement, Largo, from Concerto VIII after BWV 525 is the first taste of their ‘historically informed fiction’.

Presave now: https://BC.lnk.to/newbrandenburgconcertosIN

What if Bach had composed another set of Brandenburg Concertos – based on his own organ music? That’s the question Concerto Copenhagen seeks to answer in their forthcoming album, New Brandenburg Concertos, in which the ensemble embarks on what they describe as “historically informed fiction.”

In close collaboration with the other musicians, Concerto Copenhagen’s oboist Antoine Torunczyk has orchestrated Bach’s six Organ Trio Sonatas (BWV 525–530) into six new concertos. These are inspired by the imaginative instrumentation and virtuosity of Bach’s original Brandenburg Concertos, and richly coloured with Baroque instruments such as the three kinds of oboes (oboe, oboe d’amore, oboe da caccia), and the three kinds of violas : viola da braccio, viola d’amore, viola pomposa.

CONCERTO VIII AFTER BWV 525 
‘It doesn’t take much to transform a trio into the slow movement of a concerto – just add an extra bass line’ – Antoine Torunczyk. 

And he adds: “In this peaceful slow movement, an ethereal violin and flute duet lull the listener to sleep, while two 8-foot instruments in the continuo draw an intricate meandering pattern of lines that intersect and intertwine, in the manner of the slow movement of the 6th Brandenburg Concerto...”

THE NEW BRANDENBURG CONCERTOS – A WORK OF FICTION 

Following the example set by Bach himself—who never hesitated to transform, for instance, a prelude for solo violin into a sinfonia for grand organ and orchestra with strings, oboes, trumpets, and timpani—this album presents an expanded version of the Organ Trio Sonatas: six new “Concertos for Several Instruments,” echoing the original French title Concerts avec plusieurs instruments that Bach gave to the equally famous Brandenburg Concertos.

The result is a work of fiction—far from any claim to authenticity, a concept usually central to an historically informed ensemble such as Concerto Copenhagen. 
But, as Antoine Torunczyk puts it: “I have come up with an attempt at ‘Historically Informed Fiction’ (..) At the end of the journey, the music seems unquestionably transformed, yet strangely familiar – like meeting an old friend after many years. My only wish is that the listener will take as much pleasure in rediscovering these pieces in a new light as I have enjoyed spending these years in their company.”

The album will be released on Berlin Classics on October 24th and will be available on CD and all major streaming platforms.

Dear friends,

I’m excited to share that I’ve joined Sleeve!

Through Sleeve, I’ll be taking you backstage into my world—sharing the journey, stories, and creative process behind my music. From how each track comes to life, to the inspirations and production details, this will be a space where I’ll be more open, nerdy, and share news.

Right now, I’m working on my debut album, which is primarily a collaboration with Corey Campbell based in Charleston, South Carolina. The project is supported by grants from the Danish Arts Foundation, KODA, and Dansk Artist Forbund.

I’ve always been inspired by American indie, shoegaze, and dream pop—and with Corey I’m exploring how to blend those influences with my Scandinavian roots and sound, adding an American edge.

Can’t wait to bring you along for the ride.

Signe

In the studio, Charleston (US)

I am very much looking forward to this year’s festival on September 13th at Grønnegades Kulturcenter in my hometown of Næstved, Denmark.

To celebrate, I will release the first single from my upcoming album Turkis on September 12th on all streaming platforms. But you can already listen to it now if you have signed up to my artist profile on Sleeve 😊

As a special treat for the audience, you will also be able to buy the new album on CD and LP. The album will be officially released on June 26th, 2026.

I will be performing a selection of the new songs from the album with my very own quintet, featuring some of the best musicians in Scandinavia: Heine Hansen (piano), Anders Holm (drums), Eliel Lazo (percussion), and Morten Lundsby (bass).

This evening you can also meet artists from Togo, Ghana, Cuba, the Netherlands, Sweden, and Denmark.
I’m looking forward to an evening filled with love, charisma, and music straight from my heart.

Get your tickets here

Hi all,

It’s still quiet in the shops of Copenhagen this Monday. The last big festivals are fading into the background, and this coming week the city will buzz again. I’ve been thinking a lot about the changes happening right now: the saturation of content, the way AI is suddenly everywhere. Where does the human fit in the loop? What happens to music? Are we looking at a completely new category of art?

As someone who loves electronic music, I’ve always been drawn to Stockhausen’s vision — embracing every tone and texture, reflecting the complexity of the post-war world, where nothing is black and white. I know the frustration of the limits of an instrument. I felt it playing the violin — such a delicate, beautiful thing. I still love hearing a true maestro play it. But as a teenager, I needed something more intuitive, more open. Electronic music felt like a blank slate. Not weighed down by centuries of rules about what is “right” to play or compose. That freedom was everything.

My duo with Henrik Marstal recomposition of Gustav Mahler, 'The Ambient Mahler Remixes', with Filharmonia im. Mieczysława Karłowicza w Szczecinie in Szczecin, Poland.

I was also lucky to meet the legendary Else Marie Pade through Henrik Marstal while she was still alive. Such a huge inspiration. Fearless, curious — imagine she went straight to Stockhausen and Pierre Schaeffer, who were in the middle of their great debate about the sound of the new world: electronic music vs. musique concrète. Some describe it as a war, nothing less. And there she was, the quirky, joyful Dane, the first to combine the two — something that was seen almost as a crime at the time, but which foresaw the future we live in now, where everything is a mix of samples and synths and acoustic recordings. Henrik Marstal introduced her to me and is now writing a huge book about her, he is now also on Sleeve btw, I recommend you follow him for his beautiful ambient music and deep musical knowledge: Here.

Why tell this story? Because when technology changes, so does art. And I’m curious about what will rise from this moment. So far, Holly Herndon is one of the best examples I’ve seen of using AI creatively. But we’re also at a point where it’s easier than ever to be lazy. Which means we have to be more human than ever — to know ourselves, our taste, our intentions, and to make sure AI doesn’t take over our creative voice. Those who can channel that drive will be the ones to thrive in this new world.

And then there’s the thing that can’t be replaced. Most of the musicians on Sleeve are out there playing concerts, moving people, meeting people, giving sound to emotions that can’t be expressed otherwise. I believe that presence — the genuine, in-the-room connection — will become more scarce, and more valuable than ever.

Speaking of presence… we’re launching a new livestreaming feature on Sleeve. To celebrate, I’m hosting a live webinar: Why Newsletters Can Future-Proof Musicians. I’ll also be showing what our livestream format can do, and (hopefully) sparking a bit of inspiration. I’ll share why I think building a newsletter might be the most underrated career move an artist can make right now.

Join me on Tuesday, August 19th at 20:30 CET — timed so both European and US friends can tune in. If you have questions or specific topics you want me to cover, send them my way.

And tell me — which artist would you love to see on Sleeve? I’ll promise to try to get them ;)

Stay tuned,

Anna

Hey there,

We’re writing from that quiet in-between space—just back from summer break, but still echoing with the sound of our last show. It was one of those nights that makes you feel like you’re doing exactly what you’re meant to do. We played in Copenhagen with the Faroese singer Teitur. A big square in the old quarter of Vesterbro - completely packed with 2-3000 people, and you could hear a pin drop. The audience followed us through every shift. Felt very shared.

 Live with Teitur – Copenhagen, July 7th

Now we’re back in motion.

• We just got the master for our 10th studio album. That number feels surreal. The new record has this layered, lived-in sound— and we can't wait to share it with you.
• We’ve got two shows coming up in Denmark, then a trip to the Faroe Islands, and after that, we’re back on tour in Germany.

Dates and places are below if you want to come feel it live.

A small ask, if you feel like it

If you’ve ever been moved by our music, or just want to keep this kind of slow, human rhythm alive, there are a few ways to support what we’re building:

→ Buy the music directly here on Sleeve

→ Subscribe monthly (keeps the wheels turning for us).

Everything goes straight back into the music—studio time, travel, paying our team. It means we get to keep doing this on our own terms, with you.

We’d also love to hear from you.

What would you like more of? Less of? Something you’re curious about or missing from us? Drop a comment or a note. It helps more than you think. Sometimes, even we don’t know what we need until someone else names it.

Thanks for staying close.

More soon.

With thoughts,

Girls in Airports

Upcoming Shows

Denmark  🇩🇰

Aug 15 – Harders, Svendborg

Aug 16 – Pakhuset, Nykøbing Sjælland

Faroe Islands  🇫🇴

Sept 11 & 12 – Aulan í Finsen, Tórshavn

Sept 13 – Listastovan, Miðvágur

Germany 🇩🇪

Sept 24 – Nica Jazz Club, Hamburg

Sept 25 – Feinkost Lampe, Hannover

Sept 26 – LOCH, Wuppertal

Sept 27 – Burg Vischering, Lüdinghausen

Kære Venner
Jeg håber I har haft en god sommer. :)
Jeg udgiver min nye sang "Vi Er Èn" den 4. september, men sangen kommer allerede op her på siden til jer den 2. september. <3 Jeg glæder mig til I skal høre indspilningen.

Jeg glæder mig også meget til at skulle på tour med bandet. Måske ses vi?😄Datoerne er under billedet. :)

22.08.25 Sol Over Stensby

30.08.25 Valby, Rød Koncert 

05.09.25 NÆR FESTIVAL, Langeland

11.09.25 Det Kgl. Bibliotek. Solo

06.11.25 VIFTEN, Rødovre

07.11.25 STARS, Vordingborg

08.11.25 TEMPLET, Lyngby

13.11.25 FOLKETS HUS, Struer

14.11.25 PALETTEN, Viborg

15.11.25 DET RØDE PAKHUS, Skælskør

19.11.25 MUSIKHUSET Aarhus, Aarhus

20.11.25 HORSENS NY TEATER, Horsens

21.11.25 AGGER DARLING, Vestervig

22.11.25 SØNDERBORGHUS, Sønderborg

Find billetter her: https://tix.to/mathildefalch

Kram fra M