‣ we like we

We like We is an experimental performance and sound collective based in Copenhagen, Denmark.

Praising the collective We like We focuses on a collaborative working ethos utilizing a unique mix of instruments and musical background.

We like We consists of Katrine Grarup Elbo (violin) Josefine Opsahl (cello) Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). All four of them are classically trained, but share a desire for exploring, experimenting, jamming and shaping a sound of their own.

Expanding their inspiration and influence from the classical roots We like We makes music driven by intuition and playfulness. Through their collaborative compositions We like We creates music that travels beyond the grid of genres.

First album a new Age of Sensibility was released November 2014 at the Danish label The Being Music. Their second album Next to the entire All was release December 2017 on the German label Sonic Pieces.


∙ Next to the entire All (Sonic Pieces, 2017)

Next to the entire All is both a mind bending and grounded piece of work fitting naturally next to other Sonic Pieces releases such as Hauschka & Hildur Gudnadottir’s Pan Tone or Christoph Berg’s Conversations, while adding a northern minimalism. A record as hard to shake off as it is to describe. The album is We like We’s second full length album released December 1st 2017.


∙ Time Is Local (2017)

Time is Local is a 12 hour multichannel live installation and performance concert developed and composed in collaboration with the Danish soundartist Jacob Kirkegaard at Thorvaldsen‘s Museum in Copenhagen. The piece consists of live instrumental interpretations of the resonant frequencies of the museum as well as the resonance recordings of each of the selected 12 chambers. The audience will move around freely through the Museum, and will be invited to experience each chamber’s idiosyncratic spatiality and sound. Each new chamber becomes a one–hour–ritual to witness: from a white noise salvation through variations over the actual evocation to pre–composed or improvised live music. Time is Local was premiered at G((o))ng tomorrow festival in Copenhagen November 2017.


∙ EMP RMX 333 (Dacapo Records, 2016)

With the release of EMP RMX 333 – A Tribute to Else Marie Pade, released on Dacapo Records, We like We and 10 other artists payed a tribute to Else Marie Pade who passed away in January 2016.


∙ Someone Told Me I Was Paradise For You (The Being Music, 2016)

Someone Told Me I Was Paradise For You is the endless mantra that is whispered into your ear during the late hours of a dark blue summer night. It is four individual voices and reflections braided together as a unit in the depths of the collective unconsciousness. This single track was released late summer 2016.


∙ a new Age of Sensibility (The Being Music, 2014)

We like We’s debut album is a musical study on the complexity of present life as a human being, caught in between mind, tradition, logic and experience vs. primal instincts such as impuls. It is a reflection on the culture of our classical instruments versus their nature and individuality versus collectiveness.


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‣ vindelev & kirkegaard

Since 2014 Danish sound artist Jacob Kirkegaard and Katinka have been collaborating on a number of various projects. Jacob is an artist and composer working in carefully selected environments to generate recordings that are used in compositions or combined with video imagery in visual, spatial installations. His works reveal unheard sonic phenomena and present listening as a means of experiencing the world. Kirkegaard has recorded sonic environments as different as subterranean geyser vibrations, empty rooms in Chernobyl, Arctic calving glaciers and tones generated by the human inner ear itself. Currently based in New York, Kirkegaard has presented his works at galleries, museums and concert spaces throughout the world, including MoMA in New York, Louisiana and ARoS in Denmark, KW in Berlin, The Menil Collection & the Rothko Chapel in Houston and at the Aichi Triennale in Nagoya, Japan.


∙ eustachia for two voices (2016)
Composed from tones generated in the inner ear. These tones, called spontaneous otoacoustic emissions (or SOAE), are produced – without external stimulation – in people’s ears. Each emitting ear produces something akin to an acoustic fingerprint. Whereas the combinations of tones emitted from one ear can be dissonant, microtonal and complex, tones emitted from another ear can be harmonious and perceived as ‘in tune’. Recorded with specialized microphones inserted directly in the ears of students, during Jacob Kirkegaard’s sound-artist-in-residence at St. John’s College at University of Oxford in 2016, these tones now form the basis of this composition. The Eustachian tube extends from the middle ear to the pharynx and connects the ear and the voice. Connecting two sensory organs of the human body, the ear and the mouth, Eustachia for 2 Voices presents SOAEs interpreted entirely for voice.
‣ eustachia for two voices has been performed at
Louisiana @ Museum of Modern Art, Humlebæk, Denmark
ARoS @ Art Museum, Aarhus, Denmark
Ribe Art Museum @ Ribe, Denmark
Fridman Gallery@ New York City, USA
Video from 9 Evenings + 50, Fridman Gallery, New York City, September 2016
Katinka Fogh Vindelev & Jacob Kirkegaard – Eustachia for two Voices
Jacob Kirkegaard – Eustachia for Twenty Voices
Katinka Fogh Vindelev – Eustachia for One voice

∙ tone poem for Richard Strauss
The sound artist Jacob Kirkegaard and classical singer Katinka Fogh Vindelev are joining forces to compose and perform Tone Poem for Richard Strauss, an interpretation of composer Richard Strauss’ final completed works, “Vier Letzte Lieder” (Four Last Songs) from 1948. By extracting and working with minute fragments and phrases, they tease out what they see as the essence of these songs written so close to the composer’s death.
‣ tone Poem for Richard Strauss has been performed at
Norte Maar’s SOUNDEVENT @ Socrates Sculpture Park, New York City, USA
Robert Fagan Art library @ The Seligmann Center, Sugar Loaf, NY, USA
Rued Langgaard Festival @ Cafe Quedens, Ribe, Denmark

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‣ HanKat

A collaboration with mezzo-soprano and artist Hanne Marie le Fevre. Hanne and Katinka share a desire for dissonant sounds, physical reflection and immediate spatial investigations. They for instance like singing into the walls, lying down, or collapsing in an inconvenient position. Vindelev & le Fevre always performs partly composed and partly improvised.

‣ vindelev & le fevre have performed at

Slow walk during SLOW event @ Glyptoteket, CPH, DK
Badesøen Festival / the Lake @ Albertslund, CPH, DK


‣ Moonologue - for our Suns

Moonologue – for our Suns is a new opera produced in collaboration between composer Katinka Fogh Vindelev and visual artist Marie Kølbæk Iversen. It is an independent continuation of Kølbæk Iversen’s long-term art project Io/I, which is on view at Louisiana Museum of Modern Art until January 20, 2019, as part of the exhibition “The Moon.”

        In the opera’s libretto, written by Kølbæk Iversen, the diverging identities of Io is explored: Io is Jupiter’s inner-most moon, which was discovered in 1610 by Galileo Galilei, but she is also the Greek-Roman mythological priestess after whom the moon is named. Through Galileo’s Italian (‘io’ is the Italian word for ‘I’) the different manifestations of Io are synthesised into a composite Self; a Self thus also encompassing Galileo as well as the artists – the audience even; a Self which speaks through the Moonologue.

       In her composition of Kølbæk Iversen’s text, Fogh Vindelev takes as her starting point this blurring of identities, which she reflects in the two voices – a male and a female voice, a countertenor and a soprano (sung by Morten Grove Frandsen and Fogh Vindelev herself) – that intersect and diffuse each other beyond the singers’ cultural and biological genders. The composition shifts between recitative and abstract parts together reflecting the hybridising, supernatural, and mythic character of the text.

​       The collaboration manifests as two live performances at Louisiana Museum of Modern Art during the fall and winter of 2018, for which Kølbæk Iversen has created the masks and costumes: one at full moon on November 23, and one at new moon on December 7, 2018. In addition, the opera is released as a limited vinyl edition by Antipyrine Records on the occasion of the first performance.