Name: INTONAL 2026: Olibanum
Start: 2026-04-25T13:30:00+02:00
End: 2026-04-25T16:00:00+02:00
Location: Malmö Konstmuseum

Throughout the year, we move in quiet constellation with Malmö Konstmuseum — gathering in the gardens of Kungsparken, crossing the moat, entering Malmöhus Slott. Stone, water, breath. The Skovgaardsalen concert room waits like a held note.
For this year’s Intonal Olibanum, we listen to what lingers in the aether.
Doors: 13:30 On stage: 14:00
Entry: Free with festival pass or regular museum entry (60 SEK) without
Arve Henriksen & Canberk Ulaş
They meet through breath.
Trumpet and duduk share the same air — wood and brass leaning toward each other, tracing a line between the North Sea coast and Anatolian highlands. Arve Henriksen lets the trumpet hover at the edge of speech, where tone becomes almost-voice, almost-memory. Electronics extend the exhale — notes bending, thinning, dissolving into the architecture.
Beside him, Canberk Ulaş carries the duduk’s darker grain. Rooted in Armenian technique, his sound moves with patience — low, textured warmth, widened gently through piano, pedals, subtle circuitry. Time stretches.
There is no score. No fixed arc. Composition and improvisation rest in quiet negotiation. After their first encounter in Gothenburg, this Malmö performance unfolds as a second meeting — shaped entirely by presence. The acoustics of the room. The weight of the audience. Breath gathers. Breath thins. The castle listens back.
XTC in the XIV
Where the same breath becomes continuum.
XTC in the XIV move at the meeting point of medieval polyphony and contemporary repetition. What began as sampled fragments of fourteenth-century vocal harmony has become a living organism: voices and electronics suspended in shared elevation.
Loops stretch beyond their frame. Harmonies are held until they shimmer. Linear time softens.
Early transmissions surfaced through Varg’s Cease 2 Exist and A Sudden Point of Balance, alongside a recent remix for Vox Vulgaris. Now, with their newly released full-length on Supertraditional Records, the architecture is fully embodied.
On stage, voices interlock with live electronics in real time — devotional yet precise, immersive yet weightless. Their sound has unfolded in cathedrals, festivals, mines; each space shaping the resonance differently. In Skovgaardsalen, the cycle continues.
This year’s Olibanum drifts between exhale and echo — from the solitary tone that trembles at the edge of silence to the collective harmony that refuses to end.