Ice Cream Cathedral have shared a video for their current single “The Swans”, which is to feature on their second album Sudden Anatomy set for release May 12th on Riot Factory Records. The video was directed by Carl Marott and sees the band live up to their label of “space pop” as they control their spaceship to a faraway planet occupied by giant animals, before shrinking them down to earth size to fly them home to Planet ICC.
Watch the video for “The Swans” below:
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We’re pleased to announce that Here Today is Roskilde Rising‘s official media partner, we’ll be working along side them to help promote each act part of this years project and follow them in the run up to this years festival. The Roskilde Rising project started a few years ago with the aim of offering a platform to hand picked Scandinavian acts playing their Pavilion Junior stage at Roskilde Festival. They give artists a helping hand guiding them to the next stage of their career. This year Roskilde Rising returns with 9 acts picked from their new stage ‘Roskilde Rising’ that will be situated in the camping area and will run up until the main days of the festival. Heres an overview of each Rising band for 2014:
Hoods, ginger locks, and the moody glance of a teenager music making teenager not to be messed with. King Krule? Try Karl William. This red head offers up rap and R&B over the simple beats on single ‘Kostumerant’, and tastefully turns his head to synth and autotune on ‘Foruden at Forgude’. Having released his four track EP 1. Sal last September, this Danish rapper looks ready to take the Roskilde rap fans by force.
Dramatic in the most theatrical sense of the word, Blaue Blume sound like they’re transmitting from another dimension. Their debut single, “Lost Sons of Boys,” out now, has hints of psychedelia to it, but many of the other tracks they’ve made available follow the darker strain running under that syncopated rhythm. Dominated by a freakishly high yet unexpectedly soulful falsetto — think Cat Stevens without anything to ground him — that offers a severe contrast to the otherwise muted, lethargic arrangements, it’s downtempo, but don’t expect to be able to chill out to these songs. In fact, it might be best to prepare for a little paranoia.
Fronted by Magnus Grilstad, Heimatt approaches indie rock through vibe of traditional English folk with its predominantly acoustic arrangements and a violin that offers not only colorful harmonies but sometimes erie textures as well. Grilstad’s throaty vocals have a deep, sensitive resonance and occasionally shade into an American country twang. Their debut EP, To The Mountain, released in February, is energetic in spite of fact that the lyrics betray a pretty constant sadness. With a majority of their tunes being upbeat, however, there is a perfect foil to all of that melancholia, or at least there’s a sense of catharsis.
Get Your Gun
Rumbling verse lines followed up by crashing americana rock choruses is the confident offering from Get Your Gun. It’s simple, no nonsense guitar music, without teetering into Scandi-metal territory. Formed by brothers Andreas and Simon Westmark, Get Your Gun have been making music since 2008, but are finally releasing their debut album The Worrying Kind this month.
The Awesome Welles
Copenhagen’s newest ambassadors of brooding and theatrical indie rock may have a pun for a name, but their music is inspired by the straight-faced sincerity of bands like the National. Songs like “120” hark back to the grungy power-pop of the 90s and early 00s, whereas their newest single, “Undertaker”, – reportedly inspired by Soren Kierkegaard – sees them going for a more anthemic approach, with a very clear Scandinavian angle. Having supported the likes of Kellermensch and The Floor is Made of Lava, the Awesome Welles are poised to receive their own share of the limelight.
My Heart the Brave
Producer Caspar Hesselager’s brand of electro-pop relies on tightly syncopated rhythms and organic instrumentation. A classical pianist by training, Hesselager layers his songs with quirky riffs that encourage the listener to keep rewinding, in an attempt to prize the layers apart. The “Keep Me From It” single might seem to aspire to summer-hit status, but it’s off-kilter rhythms and steel-drum-imitating piano complicate the song and invite closer listening – which reveals a frantic bassline hidden under the heavy synth stabs. All these elements are brought together by Hesselager’s accented, low-key vocals.
For those that are more hard rock inclined, look no further than the naked, tattooed torsos of Förtress. Recent single ‘Forest of the Wicked’ has all the long hair thrashing a heavy rock fan could wish for, whilst maintaining a solid melody and listenability. They keep their description on the band’s Facebook page simple: “Heavy Rock. Big Dicks. Balls of Steel.” Will their set match the male bravado?
Trading mostly in sludgy rhythms, rolling percussion, and lots of growling, Hexis have a sense of dynamics that gives their songs real dimension. Amongst the distortion and evil bellowing are countering shouts and unexpected cadences. The Copenhagen-based five-piece black metal outfit released their latest full length album, Abalam, in January. While their songs do have a thick, unsettling, buzzy quality to them, don’t expect endless, formless droning. They speed through most of their songs in quick, vicious succession, and Abalam clocks in at a succinct thirty five minutes — just enough time to rev you up or give you serious indigestion.
Narcosatanicos is a heavy name for a heavy band. The Aarhus-based sextet – including three guitarists and a saxophonist – draw from the likes of Suicide and Hawkwind to create a distinctive form of freeform, psychedelic noise-rock. The No-Wave saxophone wails, coupled with meaty basslines, make this a band that commands attention, manhandling the listener as their sonic hallucinations progress. Though one could spend several happy hours charting Narcosatanicos’ various influences, their sound is all their own, and their live performances promise to be intense and memorable experiences.
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Cults almost run onstage, and grab their instruments, as if competing with time itself. Four screens alight in the background, leaving the band members in a wash of blue light, revealing only their silhouettes. Then as lead singer Madeline Follin starts singing, a blood red spot light lights up her face.
It’s a shame that the sound isn’t equivalent to this visual efflorescence; the vocal is simply too low and the drums and bass are too loud. Follin is drowning in pounding drums and thick bass notes – it feels like removing the driver from a Formula One car: the engine produces maximum power but it’s heading nowhere. And since Follin very much is the core of the band, then her presence is a necessity if the songs are to work. It’s obvious.
Fortunately the sound picks up during the concert and the performance of ‘I Can Hardly Make You Mine’ turns out being a greater pleasure live than on tape. The simple 4/4 beat generates dancing feet all over the floor, and especially a couple of guys in front of me seems to be more than satisfied, as they empty their beers in an ecstatic hands-over-head-dance.
Encouraged Follin says ”Now we’re gonna play a slow song”, but the slow verse is only a prelude for the majestic chorus of the retro-idyllic ‘You Know What I Mean’. Follin bursts into the chorus while moving like an exotic belly dancer. The visuals contribute to this ambience, casting a colourful veil over the entire stage. But the feeling of warmer climes doesn’t last long nor does the nostalgic vintage feel in the music. Tracks like ‘Keep Your Head Up’ are more of a rave-party experience than of an indie-pop concert, which the band however seems to enjoy, as opposed to myself standing in front of the stage. The intended fusion between musical cultures seems strange and misplaced. Cults has a sharp style, with charming references to the girl-group pop from the 1960’s, so why not just stick with that and forget about the rave?
After a short set of 40 minutes the band walks off stage without having played the hit that made a ton of critics excited: ‘Go Outside’. So it’s no surprise when they come back for the three encores. Even though ‘Go Outside’ catch the attention of everyone, it’s a punctured version of the happy sunshine-tune that fills the room. Follin looks as if she’s been singing that tune too many times and the former glow has faded from her face. The other half of the original duo, Brian Oblivion, is still in good spirits though, and he encourages the audience to dance and have a good time for the final track. Yet the general vibe throughout show is manifested by the silent Follin who, when the last note fades out, silently slides off the stage.
It must be a satisfying feeling to be Sun Kil Moon’s Mark Kozelek, walking on stage and being welcomed by a sold out Lille Vega. Sun Kil Moon has been visiting Denmark regularly during the last couple of years, but his audience is as loyal as ever. The queue in front of the venue snakes its way far down the streets of Vesterbro as the time draws near nine o’clock.
Inside, Mark Kozelek opens the evening accompanied by his drummer, Eric Pollard, with one of his more classical tunes. The sound is so crisp that every tiny movement on the nylon strings cuts directly through the air towards my eardrums. The rest of Kozelek’s band mates joined the duo for the second track, ‘Carissa’ – the mournful but beautiful opener from the band’s latest album, Benji. You wouldn’t think that an album like Benji, with its lyrics about the lives and deaths of Kozelak’s family and friends, would make a hundred people smile and move their hips. But Kozelek is not as grave as you might expect from listening to his music; he’s funny and takes advantage of every break to tell jokes, mostly about sex and getting older. Maybe it’s the date, the 1st of April, that put him in this mood.
”This is a song about the two things I love the most: sex and oral sex.” The introduction for ‘Dogs’ spreads a laugh and the song itself is definitely one of the highlights of the evening. There are a handful of songs in this genre, including ‘Richard Ramirez Died Today of Natural Causes’, with a deep bass and a groove that stand out and work as a nice parallel to the quieter songs.
Even though Kozelak is self-deprecating about his getting older, his voice doesn’t show any signs of rust or ageing. His singing is dynamic, and at times you might mistake him for a young chorister rather than a middle-aged indie rock musician. Eric Pollard’s backing vocals lift the arrangements and create sequences of pure and divine singing. The backing band do a good job, but there’s no doubt that Kozelek is the main attraction.
The first part of the show consists mainly newer songs, and is more energetic than the last part, but Kozelek adds new energy at the end as he stands up from his chair. ”I’ve been sitting down too much today” he says, while raising his rigid body with a deeply felt, but also possibly ironic, sigh. After more than two hours the band leaves the stage, but they still manage to meet the loud applause and perform a couple more songs for an encore. Impressively, they aren’t sucked dry of energy, and I don’t think they will be in the near future either.
Waitress have shared a video for their first single “Young In Mind”, the single is to feature on their debut EP which is set for release August 18th on Antihphonics. The hilarious video was shot at a supermarket in Malmö before hours and sees Aske Bode and Andreas Brixen (Bodebrixen) smashing/pouring random products over the head of fellow bandmate John de Lira (Lars and the Hands Of Light).
Watch the video for “Young In Mind” below: