Online music magazine based in Copenhagen, Denmark

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April 2014 - page 2

AUDIO: Baby In Vain – “Seize The End”

in Blog/New Music by

Baby In Vain have shared new single “Seize The End” today premiering via The 405. The Copenhagen trio have been making waves already this year across the atlantic with appearances at SXSW impressing international media along the way. The girls have also announced several festival appearances over the summer including sets at Northside, Trailerpark Festival, The Great Escape and many more.

Listen to “Seize The End” below:


in Live Reviews by

A year ago I could not have predicted that my favourite concert of April, 2014, would involve a Dutch lute player. Though it is a disservice to Jozef Van Wissem to summarise him in those three words, they are inevitable. It certainly can’t be said that we are experiencing a deluge of post-modern arrangements of Baroque music from the Low Countries. And yet any serious music or film fan would have been hard-pressed to ignore him this year. As well has having released his second collaborative album with Jim Jarmusch (out of more than a dozen previous solo records), Jozef Van Wissem collaborated on the soundtrack to Jarmusch’s latest movie, Only Lovers Left Alive.

The soundtrack is what CPH PIX must have had in mind when they coupled Van Wissem with Claudio Simonetti’s Goblin, pioneers of 70s prog-rock horror soundtracks. Stylistically very different, the pair draw a mix of film-buffs and metal fans (for it must be said that for some reason most people can only appreciate Renaissance music in close proximity to chains and black leather), and if Amager Bio is not exactly packed, nor is the crowd thin around the stage.

As Van Wissem sits himself down under cover of darkness and begins to play, I am disappointed to find that his lute (a black mutation of a traditional one, having sprouted countless more strings) is mic-ed up. The venue isn’t huge, and his playing is compelling enough to command utter silence. But as he moves from earlier work to songs from the Jarmusch soundtrack, it is clear that Van Wissem is making good use of those microphones, altering the distance from the instrument in order to create hints of feedback and weird resonances. At one point he circles around the microphone, so that the audience can hear the lute unamplified. All his music is based on repetitions, and at first seems rather ponderous and alienating. Closer inspection (literally and metaphorically) reveals hidden complexities in the pieces, and the differing dynamics can completely alter the mood of a riff.

The transition, from this to the (regrettably) beefed up prog-rock of Goblin, is less than smooth. Claudio Simonetti is the only original member of the band, the other three being members of a Goblin cover band. What they lack in authenticity (beige-metal guitar sounds and bowling shirts all round), Simonetti makes up for in charm. With a wide grin he asks the audience: “Do you like zombies?” The answer naturally being yes, he reveals that by good fortune he happened to have written the soundtrack to George A. Romero’s Dawn of the Dead, and is willing to play it for us now. For the next hour or so the band play along to prejections of clips from horror classics by Romero and Dario Argento, interspersed with jokes about the guitarist’s fly farm (a reference to Phenomena) and some vocoder problems during their rendition of Tenebrae (familiar for having being sampled by Justice in the song “Phantom“).

The highlight of the second part of the evening isthe theme to “Profondo Rosso”, which manages to out-do Mike Oldfield in terms of “Tubular Bells”-style eeriness. It is a song I obsessed about long before I was old enough to actually watch a Dario Argento movie, and it is odd that I had to travel all the way to Copenhagen in order to hear it live for the first time.

VIDEO: Lust For Youth – “Illume”

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A couple of weeks ago Lust For Youth released new single “Epoetin Alfa” along with details of their third album International. Yesterday, they shared a video (directed by Cali Thornhill Dewitt) for their track “Illume” which sees the duo strolling around the Americas in white tuxedos while a cowboy watches on. International will be released June 10th on Scared Bones Records.

Watch the video for “Illume” below:

AUDIO: Sleep Party People – “Floating Blood Of Mine”

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Sleep Party People have shared a new track “Floating Blood Of Mine” from their forthcoming album. Last month the band released the beautifully haunting new single “In Another World” and announced details of their third album Floating which will be released on May 30th across Scandinavia and Asia, June 2nd worldwide.

Listen to “Floating Blood Of Mine” below: 

Roskilde Rising | Lille Vega, Copenhagen, 12.04.2014

in Photos/Roskilde Rising by

Photos by Morten Aagaard Krogh







The Awesome Welles







Blaue Blume







Mont Oliver





LIVE REVIEW: King Krule, Pumpehuset, 11.04.2014

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The hype around last year’s release of 6 Feet Beneath the Moon has ensured that Pumpehuset is packed with all sorts of vaguely fashionable types. Quite why Copenhagen’s twentysomethings are so interested in a 19-year-old from South London who sings about Tesco sandwiches past their sell-by dates, that is too large a question to get into. The point is that people are here, and there is a palpable atmosphere of anticipation as people cluster around the front or perch on ledges around the room.

The opening act, Kill J, despite having an obviously talented singer, manage to like more or less anything that was vaguely hip in the last few years: a bit of The Knife, a dash of M.I.A., sprinklings of whatever else you can think of. At one point she even starts to do an imitation of Die Antwoord’s Yolandi, complete with an incongruous South African accent.

A few teenage screams erupt as Archy Marshall joins his band on stage. It’s an interesting moment, a weird cognitive dissonance between this gawky, enthusiastic kid and an audience intent on deifying him. He bounces around during instrumental parts, but his distinctive style of singing anchors him down, as veins bulge around his neck.

Though his songs translate well enough in their live renditions, the sound is rather flattened out. Without some of the samples from the record, the set starts to sound rather samey and repetitive after half an hour. It is clear that to really get into King Krule, you need to subscribe to the myth. Otherwise you are essentially listening to an indie band playing lounge songs.

Though I’m less than evangelic about King Krule, it is undeniable that Archy has very interesting music tastes, and an ability to fit the most disparate influences into a unified sound. “A Lizard State”, despite its jazz references, could only come from the mind of someone who has grown up when the Libertines were at their peak. The attempts at street-smart realism and everyday references are still rather clumsy, and most tracks feel more like sketches than real songs, but the sketches are certainly promising.

Of course, most people are here for the penultimate song, “Easy Easy”. And it is the simplicity of the song, the sparse guitar and vocals, that give it punch, not to mention a passing resemblance to New Order’s “Ceremony”. Probably not the references to sandwiches, though.

LIVE REVIEW: MØ, Store Vega, 11.04.14

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There are very few artists who could get me on the verge of tears of joy after their set. There are even fewer that I’d ask to pose for pictures with. MØ, AKA Karen Marie Ørsted, is one of them, and I have the #sorrynotsorry selfie to prove it. Ladies and gents, it’s time to grab your scrunchies and braid your hair, and bow down to the her royal highness, the Danish Princess of Pop. MØ unashamedly embraces the pop star persona, but does it on her own terms. She refuses to be manufactured, and thus becomes the perfect pop star; confident onstage presence, relentless dancing, a distinct but not unattainable image, brilliant back up band, and no dance routines or meat dresses, just the star quality that now seems so rare.

She enters the stage in a furry black 90s raver jacket. In a state of Mean Girls-esque awe I make a mental note to also get a black 90s raver jacket. ‘Fire Rides’ opens the show with spangling guitar and an electronic pulse that Ørsted takes as an instant opportunity to punch the space in front of her and leap and bound around the large stage, framed by a projected backdrop of looping greyscale lips opening and closing, a loop recognisable from Ørsted’s videos. She follows this by a rendition of ‘Maiden’, where she effortlessly dominates the stage, the audience, the ceiling, the balcony, the sound desk and the toilet, to create a fucking brilliant party. A party that only intensifies as ‘XXX 88’ is played.

She jumps into the audience for a remixed and sped up ‘Freedom (1)’, from Bikini Daze, where her disciples clamour around to listen. As she sings “freedom is like this, we can go anywhere” to the group around her, it’s like watching a revolutionary leader talking to her followers; her charisma is tangible. It also looks like MØ saw the party from above and couldn’t resist the temptation to join in. A few tracks later, she momentarily disappears from sight and reappears on the balcony to perform the pseudo-ballad ‘Never Wanna Know’ whilst making a walking tour of to upper tier. Taking her initial bow after ‘Walk This Way’ and ‘Glass’, Ørsted returns for an encore of her Spice Girls cover ‘Say You’ll Be There’ and ‘Don’t Wanna Dance’. “Nu skal vi have lidt Spice!”

As her body rocks from side to side in the slower moments, and her long plait reaches ridiculous heights on the faster ones, it is clear that I am watching the coolest performance thus far this year. Every member of her almost all-female audience wants to, in descending order of how awesome it would be, either a) be her b) be her BFF c) help her form a new girl group. But in a way, it’s like she already has one. Her proximity to her fans is unique. It’s easy to say how much you love your fans, or Little Monsters, or whatever, but MØ’s dedication to and love of them is incredibly believable, just as everything else about her is. There is no affectation, just pure, unadulterated stardom.

And yes, I am seriously fan girling. HRM MØ.

King Krule | Pumpehuset, Copenhagen, 11.04.2014

in Photos by

Photos by Tom Spray (

King Krule (Photo by Tom Spray)

King Krule (Photo by Tom Spray)

King Krule (Photo by Tom Spray)

King Krule (Photo by Tom Spray)

Metronomy | Loppen, Copenhagen, 09.04.2014

in Photos by

Photos: Morten Aagaard Krogh





Posh Isolation record store w/Loke Rahbek (Lust For Youth/Vår/Croatian Amor)

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Situated on Blågårdsgade in Nørrebro is the record store Posh Isolation run by its owner Loke Rahbek (Lust For Youth/Vår/Croatian Amor). The store is the base for the Copenhagen record label run under the same name, who in their short life span have released records from the likes of Communions, Lust For Youth, Yen Towers, Croatian Amor and a collection of bands from the same scene including Age Coin, Vår, White Void and more.

Here Today’s Ivan Boll met with Rahbek ahead of his appearance at this years CPH PIX where he’s scored the soundtrack for 1921’s silent movie The Phantom Carriage by Swedish directer Victor Sjöström. The film is based on Selma Lagerlöf’s novel Körkarlen which following the death of lead character, David Holm, he’s confronted by all the people whose lives he’s destroyed over the years, including his wife who is caught between love and obsession.

The Phantom Carriage screens on Saturday 12th April at the Grand Teatret in Copenhagen with Loke Rahbek performing the soundtrack live. Buy tickets, HERE

Photo by Ivan Boll

Loke Rahbek

Loke Rahbek

Loke Rahbek

Loke Rahbek


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