With a massive sound bath of deep frequencies and shimmering overtones, Abul Mogard invites listeners into a state of immersion that feels both earthly and cosmic. The Italian musician is a singular force within power ambient, crafting live experiences that balance the monumental with the intimate. In March he visits ALICE, unfolding his fantastic new album Quiet Pieces (2025) in all its mesmerising power. The Danish sound artist Julie Østengaard opens the evening.

“This is transcendent music” – Mojo

“Arguably one of the bigger enigmas in modern synth music” – Boomkat

For more than a decade, Abul Mogard – aka Guido Zen – has been an enigmatic figurehead within the most textural corners of ambient music. His concerts are often described as “sound baths”: deeply physical, sensorial experiences where colossal basslines, slowly pulsating synths, and glittering details merge into a single meditative flow. The music carries a sense of the sacred – somewhere between drone, minimalism, and deep listening – resonating with artists like Alessandro Cortini and Tim Hecker.

Since the release of his masterpiece Circular Forms (2015), Mogard has performed on some of the world’s most influential stages – from Berlin Atonal and Le Guess Who? to Centre Pompidou and the Southbank Centre. He has composed for film, art, fashion, and installations, and his work has been highlighted by both the BBC and Thom Yorke. Among his notable projects is a large-scale composition for pipe organ, electronics, and trombones commissioned by the Organ Reframed Festival in London, as well as soundtracks for Duncan Whitley’s films Kimberlin and Phoenix City. With Quiet Pieces, the first release on his new label Soft Echoes, Mogard moves even deeper into a sphere of quiet, glowing intensity – music that seems to breathe with the room itself. When Abul Mogard performs at ALICE, expect an experience that hits both body and soul: massive, meditative, and utterly magical.

Julie Østengaard
Electronic composer and sound artist Julie Østengaard works with sound as a sculptural and spatial phenomenon. With a deeply original and performative approach, she explores how electronic sound can gain physicality and gesture, often shaping her works through specific instructions that become active compositional partners. Østengaard works both solo and across disciplines, where performance, visual art, and sound merge into experimental constellations. We look forward to her opening for Abul Mogard on this special evening.