Online music magazine based in Copenhagen, Denmark

Monthly archive

February 2017

LIVE REVIEW: Lambchop, Lille Vega, 27.02.17

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Lambchop’s FLOTUS has been acclaimed as a daring reinvention, and indeed few of us would have expected Kurt Wagner’s outfit to stray from their left-field brand of Americana into a world of autotuned vocals and, yes, even the odd trap beat. But this narrative of a reinvented band misses the fact that the band have always traced a unique and at times bizarre path. Find me another alt-country band that would, say, choose to release a concept album centred around the Nixon presidency.

The iciness of these new electronic elements lend an air of fragility, a tension that is very evident in the room as the band remain remote and quiet at the back of the stage. The vocal effects act as a mask that might allow Wagner to both indulge and play with a set of lyrics more private than usual. Slowly the thaw sets in, and soon enough the piano player is cracking ever more weird and confusing jokes. It occurs to me that Kurt Wagner may have just decided to stay silent in order to coax out of him ever more awkward sex stories.

Drummer Andy Stack, of Wye Oak, looks on in amused confusion, and though his contributions are limited, they are the most notable instance of Lambchop’s “new sound” beyond Wagner’s vocals. “Directions to the Can” in particular stands out as one of the grooviest tracks Lambchop have produced in a while, aided by a subtly filthy hip-hop-inspired bass line.

By the end of the night if Wagner is getting close to talkative, and his use of the vocal effects switches from understated to enthusiastically experimental. They announce their last song as a cover, and as people whoop at the first couple of chords Wagner laughs out loud and calls them out: “this could be any song.” In fact it is a very Lambchop-ified cover of Prince’s “When You Were Mine”.

LIVE REVIEW: Future Islands, Jazzhouse, 26.02.17

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Future Islands

Photos: Morten Aagaard Krogh (mortenkrogh.com)

It has been over a year since Future Islands last played a gig in Europe, which, together with a shortly to be released album and the last-minute announcement of this show, adds a heightened layer of excitement to the four-piece’s re-emergence in Copenhagen. This gap makes itself felt in the initial hiccups with the keyboards, but this ends up providing frontman Sam Herring the opportunity to begin his intense love-in with the audience.

There are few performers who are quite as obviously thrilled to be onstage as Herring. Arguably it was his idiosyncratic dance moves during their Letterman performance that attracted enough consistent attention onto the band to propel them into wide recognition, but there is more to it than an amusing dad dance. Seemingly every moment on stage is an opportunity for him to stare intensely into the eyes of every single audience member in the first three rows, point and grab for emphasis, usher them in.

Future Islands

Last time I saw them, Future Islands were vague specks on a stage a football field away from me. With that level of distance it’s easy to be dismissive of their more mawkish lyrical tendencies, but when the man is sweating, crying and singing a foot away from your face, it’s hard not to get swept up in the drama.

The new material shows that, even when inevitably many of Future Islands’ songs end up being about “the road”, they haven’t lost any of their intense, campy, melodramatic joyfulness. Until the album comes out in a few weeks’ time I won’t be able to say exactly which song made me laugh out loud, but be prepared for an instance of rather wonderful pseudo-reggae synth hilarity.

 

PHOTOS: Future Islands, Jazzhouse, 26.02.2017

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Future Islands

Photos: Morten Aagaard Krogh (mortenkrogh.com)

Future Islands

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Future Islands

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Future Islands

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Future Islands

Noise, Love and Anarchy: Aarhus’ International Supernoise Festival


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Supernoise Festival Aarhus

“It has been an experience in insanity to organize this festival,” said Jcak, one of the organizers of the International Supernoise Festival. The second annual festival took place from February 1-7 in the Latin Quarter of Aarhus. One hundred different acts from 20 countries performed. An independent label of sorts known as Den Jyske Harsh Noise Mafia (DJHNM) has been putting on noise events since 2012, but this year’s Supernoise Festival is the biggest event they ever organized.

Luna is one of the arrangers and artists who helped the organizing team put on the festival. According to Luna, the festival had a lot more attendees this time along with more performers.

“It was taking place more than just the weekend so there was room for a lot more artists, especially international artists” she said. “This one was a lot more organized, due to it being a week long so we had to have it more organized.”

For Luna, festivals like Supernoise play a significant role as they provide a different perspective of the music scene in Aarhus, where there aren’t a lot of noise shows taking place.

“It’s nice to give this variation to the music scene and culture because it’s not always seen as music or an art form, but it is, and I hope that people took their time to go watch this event, even for just a couple of hours,” said Luna. She hopes that the festival helped open eyes and show how inspirational and artistic other forms of music culture can be that you don’t see every day.

Sometimes, getting a platform to express your art is difficult, but it is a great source of expression when you do, and Supernoise has been that platform.

supernoise festival aarhus

“When you understand it, noise becomes a language, and I don’t want to define it as a musical genre as such,” said Jcak. “I think noise is more about expanding the understanding of what music and sound can be. I consider it being much more chaotic, where the performative, the visual elements and the situation plays a huge part and where nothing is oppressed.”

Throughout the festival, organizers Jcak and Emma had a group of volunteers like Luna helping them. The sound crew in particular were responsible for keeping order in all of the chaos and controlling the schedule for the artists, who had around 20 minutes per set. SkraldeCaféen were also a big help for the organizers during the festival, setting up a kitchen at the venue and providing food for everyone. This festival was mainly a get-together of sorts for friends and family and well-wishers of all the performers. While none of the artists were paid, the money from the festival will be spent on their travel expenses.

“Being marginalised by mainstream media, the international noise scene acts like family,” Jcak and Emma explained. “For this reason as well, most of the artists who played at Supernoise are already friends of ours or friends of friends. We don’t accept oppressive attitudes – in both festivals we have rejected only two artists for being uncool,” they say, referring to sexist attitudes as what was uncool.

According to Jcak and Emma, there is a favourable audience for noise events in Aarhus and people are open and interested in experimental art forms. Even when people aren’t aware of what to expect, they show up anyway.

“Right now we need a little break and then we will see what happens, but hopefully there will be another festival, and if not we will surely make a shitload of noise again. Noise and love for anarchy,” said Jack and Emma. “We don’t know when or if there is going to be another Supernoise Festival, but if so, it will properly be a month long with 1000 artists.”
-Zahra Salah Uddin

LIVE REVIEW: Ed Harcourt, Pumpehuset, 15.02.2017

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Ed Harcourt live in Copenhagen at Pumpehuset

Ed Harcourt is a versatile performer. Over the years, I’ve seen him play in dive bars and concert halls, with a full band and solo at an unstable upright piano in an old man’s pub. His set at Pumpehuset, however, removed him from notions of singer-songwriter and took the idea of one man band to another level.

Harcourt’s latest album, Furnaces, is full of dense production that doesn’t seem like it would lend itself to a solo performance without a lot of prerecorded tracks. And to be fair, he does have a number of prerecorded tracks at the ready for new songs and his back catalogue. What Harcourt also has, in a quantity I’m unable to count, is looping pedals. This means tracks are sometimes built from the drums up, but also that there are subtler shifts of multiple guitar or piano parts layered without fanfare.

It also means that no matter how familiar you are with Harcourt’s work, it’s impossible to predict what form songs will take. “Occupational Hazard” is reconstructed by drums, then guitar, then piano, and back to guitar, whereas the indie pop of “Church of No Religion” is stripped back to loop-free acoustic guitar. And we all learn a valuable lesson in etiquette: A whoop from the audience while Harcourt is trying to loop a tape played back from a Fischer-Price tape recorder gets picked up by the mic, requiring him to start again.

Ed Harcourt live in Copenhagen at Pumpehuset
Photos by James Hjertholm

It’s one of many awkward but strangely endearing encounters between Harcourt and the small crowd that’s assembled. We’ve all decided to be in on the joke, whether he’s pondering aloud if he should buy a ball gag or inviting an audience member whose shirt he admires to go on a shirt pilgrimage to Milan with him. It’s why we laugh at these monologues and maybe why during “Until Tomorrow Then” Harcourt steps off the stage to serenade the crowd — a recurring schtick for this song — people hug him.

He’s already reached the two hour mark by the time he comes out for his encore, at which point the audience starts calling for older songs. He complies readily with “Music Box,” with laborious effort for “Shanghai,” and skirts a request for something from Lustre by vamping the chorus of “Haywire.” He’s nearing the end of his tour and has pointedly said that he doesn’t care how long this drags out. And quite plainly, staying past curfew to take your obscure song requests says more about how an artist feels about his audience than weird banter or even hugs ever could.

LIVE REVIEW: Genesis P-Orridge & Aaron Dilloway, Jazzhouse, 09.02.17

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If there is one predictable thing about Genesis Breyer P-Orridge, it is the crowd s/he attracts: the goths, punks, noise connoisseurs, art musos, drag queens, crusties and techno-obsessives. Each one these stands for a moment in the career that transmuted little Neil Megson into the Pandrogyne h/erself. And although some of the elements of tonight borrow from the past, most notably Psychic TV’s “This is the Final War”, it is not to the industrial of Throbbing Gristle that we look to, nor Psychic TV’s mix of psychedelia and acid house, but to capital-N Noise.

With one of the genre’s masters, Aaron Dilloway, on stage with Genesis, and local Puce Mary giving providing the initial pummelling, this is not a night for just smugly basking among a hip underground. In the first minutes of the opening act, no sooner have I perfected my “arms folded, head tilted, thoughtfully appreciating abstract music” pose that the monitor begins to emit a frequency that makes the lighting rig tremble and my stomach tie itself into a Windsor knot.

puce mary live jazzhouse copenhagen

Genesis and Aaron Dilloway switch the direct savagery of Puce Mary for a more diversified approach: Genesis providing the spoken–or, more precisely, incantatory–word, Dilloway the uncanny sonic abstractions, and a screen doings its best to out-freak the other two.

Two people sat down at tables with some equipment doesn’t sound very visually exciting, but between Genesis’s wizard staff and golden trainers, a screen full of dayglo skulls melting into Psychick crosses, and, all the way to the right, Aaron Dilloway convulsion at his desk with what appear to be contact mics shoved into his mouth, there is arguably too much to look at.

Although Genesis P-Orridge’s sometimes lilting, sometimes declamatory voice is the anchor that propels the evening forward, it is Dilloway that really steals the show. Compared to some, his setup is minimal, little more than a few tape loops, a drum and some microphones, but out of these he is able to conjure what sound like rough field recordings in Soviet-occupied Dantean hell. Or something like that.

LIVE REVIEW: Teenage Fanclub, Lille Vega, 10.02.2017

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There’s a strange air at gigs of bands who hit their commercial peak in the ‘90s but never broke up. It’s the oddity that always being around never created more demand, that their availability didn’t spark the imaginations of a younger generation who could only hypothesize what it would be like to see them play live, that the devoted are the same devoted of 25 years ago.

And with that in mind, the vibe at Teenage Fanclub’s Vega show is curiously energized. These are the same devoted of 25 years ago, middle-aged or closing in on it fast, but they aren’t stuck in the early ‘90s. These are people who know the words to the songs from 2016’s Here, who call repeatedly for “Baby Lee”  (which doesn’t get played), who erupt when the band plays “It’s All in My Mind.” They’re the sort of crowd who have seen this band many times before and know the earliest work is saved for the very end of the set and wait patiently to hear it.

Teenage Fanclub themselves hit on a signature sound somewhere around the release of Grand Prix, and their new songs blend seamlessly with the old. It helps that over the years they’ve all become stronger singers, stronger players, and have found a place for their keyboardist/third guitarist to add an extra, shimmering layer to every song. It’s not a flashy or visually stimulating set, but it’s technically solid and full of positivity. 

Norman Blake in particular looks incredibly happy with his lot in life. He’s not bothered by the middle-aged couple down front talking selfies with the band behind them, nor is he fussed by the woman in a red dress who jumps up on stage towards the end of the set. All of the band look perplexed, but the woman, dancing around the stage, isn’t being obnoxious, isn’t getting in the way, isn’t trying to assault the band, so everyone lets it slide. She dances with their guitar tech and when the song ends gives a courtly hand to Blake, who looks amused and charmed. It’s about the least embarrassing way that scenario could have played out.

The lead up to the end of the evening rolls back the clock through “The Concept” and “Star Sign” before landing on their debut single, “Everything Flows.” If you’ve listened to the album version of “Everything Flows,” it’s easy to appreciate how much more tuneful the live performance is, how they’ve learned to build on the foundations of what their music was then but retain the raw, ramshackle energy that made it exciting in the first place. It’s a little emotional to watch because even if you as an individual do not have that attachment, everyone around you does. The band does. And it’s a good moment.

 

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