Ludvig Søndergaard - Creature Dances (2026) Hi-Res
Artist: Ludvig Søndergaard
Title: Creature Dances
Year Of Release: 2026
Label: Dox Records
Genre: Jazz
Quality: FLAC (tracks) / FLAC 24 Bit (48 KHz / tracks)
Total Time: 41:04 min
Total Size: 233 / 470 MB
WebSite: Album Preview
Tracklist:Title: Creature Dances
Year Of Release: 2026
Label: Dox Records
Genre: Jazz
Quality: FLAC (tracks) / FLAC 24 Bit (48 KHz / tracks)
Total Time: 41:04 min
Total Size: 233 / 470 MB
WebSite: Album Preview
01. Opening Track
02. T.H.E.K.A.K.A.M.A.N
03. Ciprofloaxin
04. Loopmachine
05. Broke
06. Glöckenspiel
07. W.A.N.G
08. Return
09. Final Track
10. <3
With Creature Dances, the Amsterdam-based Danish drummer and composer moves between two sides of his practice: piano-born songs you can hold, and rule-based constructions built from twelve-tone rows, odd meters, and laptop-form experiments that he reshapes until they move.
If there’s a feeling behind the title, it’s this: something a little unsettling but hard to look away from, edgy, curious, and inviting. “I wanted it to keep you on your toes but still pull you closer. It’s something a bit scary but also comforting,” he explains. That tension mirrors Søndergaard’s own split life between quiet rural Denmark and the fast churn of the places where he’s lived, studied, and stretched himself in Amsterdam, Berlin, and Paris. “I love atonal chaos, and I love cute songs. The joy is in letting them coexist.”
The sound is a deliberately percussive ecosystem: drums, bass, piano, vibraphone at the core; with flute, alto sax and modular synth textures threading the air. Clear charts, tight rehearsal windows, and trusted collaborators keep it focused: “We had two rehearsals before the studio. I had to be super clear, and still leave space for the band to breathe.”
Made possible by Keep an Eye The Records competition funding, Creature Dances let Søndergaard do the simple, important things: pay his musicians, forget the financial worry, focus on the music. “It was beautiful to not think about money,” he says. “Just make the record.”
Beyond style or influence, what Søndergaard most wants Creature Dances to do is spark curiosity. “I think it’s important that we keep asking questions,” he says. “We don’t have to agree, but at least have the conversation. I hope the music makes people curious.” And, just as importantly, he hopes to draw younger listeners toward jazz, not by making it simpler or more accessible, but by making it feel more alive, relevant, and real.
Søndergaard’s curiosity runs through the whole project: a fascination with the imperfect, the off-balance, the human side of precision.
If there’s a feeling behind the title, it’s this: something a little unsettling but hard to look away from, edgy, curious, and inviting. “I wanted it to keep you on your toes but still pull you closer. It’s something a bit scary but also comforting,” he explains. That tension mirrors Søndergaard’s own split life between quiet rural Denmark and the fast churn of the places where he’s lived, studied, and stretched himself in Amsterdam, Berlin, and Paris. “I love atonal chaos, and I love cute songs. The joy is in letting them coexist.”
The sound is a deliberately percussive ecosystem: drums, bass, piano, vibraphone at the core; with flute, alto sax and modular synth textures threading the air. Clear charts, tight rehearsal windows, and trusted collaborators keep it focused: “We had two rehearsals before the studio. I had to be super clear, and still leave space for the band to breathe.”
Made possible by Keep an Eye The Records competition funding, Creature Dances let Søndergaard do the simple, important things: pay his musicians, forget the financial worry, focus on the music. “It was beautiful to not think about money,” he says. “Just make the record.”
Beyond style or influence, what Søndergaard most wants Creature Dances to do is spark curiosity. “I think it’s important that we keep asking questions,” he says. “We don’t have to agree, but at least have the conversation. I hope the music makes people curious.” And, just as importantly, he hopes to draw younger listeners toward jazz, not by making it simpler or more accessible, but by making it feel more alive, relevant, and real.
Søndergaard’s curiosity runs through the whole project: a fascination with the imperfect, the off-balance, the human side of precision.
