Astrid Sonne’s transitory frames of sound evoke emotion through the expanse. Minimalist and deeply melodic, her debut album Human Lines is an organic electronic experiment of viola sequences, synths, and chamber choir samples. We caught up with Astrid to discuss classical composition and what’s to come.
Hi Astrid! Where are you right now?
I’m just in Copenhagen right now, had a busy weekend and I’ll probably head down to the studio later.
Sounds lovely. What’re your favourite place(s) in Europe?
Sweden and Norway, classic holiday destinations for a Dane. I love Lisbon and Portugal in general. And London! The city is terrible but I like the people there.
Shall we dive straight in? Personally, I find there’s something a bit elusive about your work. You’ve mentioned before that you like music that leaves room for interpretation. Can you elaborate on that?
“Definitions are disintegrating, and I hope that in the future we’ll talk less about whether music is one thing or another.”
If you imagine music as an immersive image of sound, a better way to say that would be that I like music with physical space. I’m not sure I’ve found the perfect amount of space in my own music, but I’m critical about whether each sound I introduce is absolutely necessary. I like minimalistic expression, but I think it’s also time to challenge that.
Would you ever use lyrics?
That’s a tough one. I’m so awful at writing them, I would do anything to avoid it. But that’s why I really need to do it. Who knows, maybe you’ll find lyrics in my next release. I have a long list of things I really need to explore!
We’d really look forward to hearing your experimentations, I’m sure! What else do you have on the horizon?
I love making music alone, but would also love to do more collaborations. Not only with other musicians, but other art forms such as dance or theatre.