Final Descent is back at Metronomen with another edition of Grains – our intimate, small-capacity concert series showcasing emerging musicians and new projects.

New duo blending Þórhildur Magnúsdóttir’s and Thora Kidon Jæger’s viola and double bass, combining noise and free improvisation, followed by a site-specific performance by Copenhagen-based Polish artist Nina Karpinska bringing together folk motifs, electronic improvisation and storytelling.

Grains is supported by Sparekassen Danmark Fonden Himmerland.


Date: 27.09.26
Doors: 19:00
Show: 19:30
Price: 60 dkr + fee
Venue: Metronomen, Godthåbsvej 33, 2000 Frederiksberg


Þorhildur & Thora
New duo blending Þórhildur Magnúsdóttir’s and Thora Kidon Jæger’s viola and double bass, combining noise and free improvisation. Through the connection with heart and breath, they welcome the unsecure sound.

Þórhildur Magnúsdóttir is an Icelandic violist, improviser and performer currently based in Copenhagen. She is an active performer of new music and has worked with ensembles such as K!ART, Who Killed Bambi and Ear Transplant. Her projects include the unconventional string trio Tríó Sól and the Spönn collective. Since 2025, Þórhildur has also been part of Feluleikur, a concert series presenting performances in unconventional and abandoned spaces in Reykjavík. She holds a master’s degree from the Royal Danish Academy of Music.

Thora Kidon Jæger is a doublebassist and composer. She works preferably collectively with improvisation, noise and electronics. Her work is committed to interdisciplinary collaboration and performances that searches for deep emotions. She is currently studying a master in early music with historical bass instruments at the Universities of the Arts in Berlin.

Web


Nina Karpinkska (PL/DK)
Nina Karpinska is a songwriter and vocalist exploring rich textures, unexpected sounds and the unpredictable nature of live performance. Working with voice, electronics, feedback, experimental techniques and folk motifs, Neena channels unruly sounds into storytelling and song.

Each performance begins with listening to the room and responding to its surroundings, allowing melody and form to emerge from the interaction between sound, space and audience. Rather than locking sound into fixed structures, Nina lets feeling dictate the form, discovering shifting moments and states as they transform into stories. The result is a process that remains open, responsive and different with every performance.

IG