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<p>Som en konstmusikens oktoberfest bjöd årets GAS-festivalen i Göteborg på både mustiga bägare och diskreta kickar. En vecka med kyrkorgelorgie, bergsprängarnoise, konst- och kammarmusik, frijazz, dub, Bach, dans, film och ljudet av smältande isbitar. Men vad var nytt? Vart pekar musiken? Och hur mår GAS-festivalen? Sven Rånlund och PM Jönsson diskuterar.</p> </div>
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<p>Sven: Jag har alltid varit svag för namnet på festivalen. GAS – Göteborg Art Sounds. Ordet ger mig bilder, det klingar bra på flera språk, låter lätt och flyktigt och samtidigt tungt och pretentiöst. Från början (årets festival var nummer fyra) stod den akademiska konstmusiken i centrum, men alltmer har GAS öppnat sig åt andra håll. I år var dessutom konsertlokalerna fler än tidigare. Kyrkor, jazzklubben Nefertiti, Musikhögskolan, konsthallen Röda Sten, Konserthuset, Stadsbiblioteket, Pusterviksteatern, till och med en konsert mitt bland lördagsshoppare i Nordstan.</p>]
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<p>Som en konstmusikens oktoberfest bjöd årets GAS-festivalen i Göteborg på både mustiga bägare och diskreta kickar. En vecka med kyrkorgelorgie, bergsprängarnoise, konst- och kammarmusik, frijazz, dub, Bach, dans, film och ljudet av smältande isbitar. Men vad var nytt? Vart pekar musiken? Och hur mår GAS-festivalen? Sven Rånlund och PM Jönsson diskuterar.</p> </div>
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Soundofmusic ges ut med bidrag av Kulturrådet.