Online music magazine based in Copenhagen, Denmark


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Amanda Farah has 102 articles published.

LIVE REVIEW: Arnold Dreyblatt and the Orchestra of Excited Strings, Jazzhouse, 18.02.2016

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Vinterjazz follows on the same trend of Jazzhouse itself: There’s some jazz, but they’re not especially strict or picky about following certain guidelines. The loosely thematic program scheduled in February is an excellent excuse to put outfits together on the same bill that have only the vaguest ties to one another. Jazz purists would surely be horrified. But it’s excellent.

Stephen O’Malley is best known for his work with SunnO))); Randall Dunn is best known as a producer who sometimes works with SunnO))). Their opening set does not sound like SunnO))) and does not pretend to. It’s primarily a thick, ambient mass of guitar and keyboards, and yeah, it’s loud, and there’s a bit of that familiar rumble, especially when Dunn fills in the bass with a Korg. There are actually times when you can distinguish the guitar, and even individual notes, particularly an interlude where O’Malley strums a series of stuttered notes. It doesn’t take long before he jabs at the pedals set up before him with a finger as though he’s gotten annoyed at how quiet things are. It’s not an all-consuming volume, and there’s no smoke machine to gas you out, but it’s clear that the men know how to lull an audience even without extreme low frequencies.

Arnold Dreyblatt

The minimalism of Arnold Dreyblatt’s opening song is shocking in its contrast. He spends 15 minutes whacking out harmonics on his bass with a bow before being joined by the Orchestra of Excited Strings.

If his opening song is demonstrably and performatively avant garde, then what follows is practically pop music. Despite being joined by a tuba player, a guitarist whose right hand scarcely touches the strings and a drummer who also plays robotic guitar (rigged to a laptop — more of a party piece than a looping pedal, but every song starts and ends with it), the rhythms are conventional, the overtones are warm, and the songs are upbeat and accessible, no matter how creative the musicians’ methods are. By the end of the set, people are dancing in the doorway, crowded out of the main room by chairs.

With such wildly different performers, there was a noted shift in the audience from one set to the next. But if you showed up late or left early, you definitely missed out.

LIVE REVIEW: Anna von Hausswolff, Jazzhouse, 22.01.2016

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Low frequency sounds and thunderous bass aren’t always associated with relaxation, but Anna von Hausswolff’s sold out Jazzhouse performance could have been billed that way. From the beginning of opener Berg’s set, the evening was one filled with a resonance humming mildly in the air, lulling the audience into a meditative state (though Berg might have taken it too far by burning patchouli incense on stage).

But it’s not a smooth transition to Anna’s set. She takes the stage with her band in an unassuming way, situated on a platform, sitting behind her organ, far removed from anyone in the audience. This means that when she crouches behind the instrument, we can’t see what she’s doing. And it seems like she’s ducked down for a long while when she finally announces that her sub-bass has blown out, and she’ll be back in about 10 minutes, leaving us with a light drone.

True to her word, it is only 10 minutes, standing in pulsating blue lights that remind you of being in an aquarium. While the glitch has robbed Anna of any bold introduction, the now-repaired sub-bass has the shock value of making your teeth rattle in your head. Despite this, it’s very soothing. Because there is so much emphasis on the lower end, the guitars are a whispery afterthought; the myriad pedals before the two guitarist contribute nothing to noise.

Anna herself can shriek like a banshee, but it blends so easily with the arrangements that, regardless of her pitch, there’s no harshness. And the way that she sways — in big swooping motions with her hair trailing behind her — suggests a different atmosphere and a different music, a playfulness and nonchalance out of step with the avant garde.

Given the technical delay, this is one night when the perfunctory leave-the-stage-to-denote-an-encore could have been skipped. Von Hausswolff returns very quickly for a solo performance of David Bowie’s “Warszawa” before her band rejoins her for the final number. It’s an up-beat, almost pop number, different from the rest of the evening that she closes her set with. It’s past midnight, and there’s an air of fatigue in the room now, but it’s a wise decision to send us off with one last burst of brightness.

LIVE REVIEW: Laibach, DR Koncerthuset, 16.01.2016

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Laibach (photo by Johannes Leszinski)

Photos by Johannes Leszinski

It’s hard to know what to expect of a Laibach show, even halfway through a Laibach show. Despite over 30 years as a band, they are a group whose reputation has surpassed their work and music, who are synonymous with fascist satire and singer Milan Fras’s strange headwear. Their performance at DR Koncerthuset was more minimalist than expected, and grandiose because of the pageantry managed with such a barebones set up.

Laibach photo by Johannes Leszinski

The focus of the drama is obviously Fras and his voice that sounds more than anything akin to Tuvan throat singing, especially when contrasted so extremely with Mina Špiler’s soprano. It’s in their movements: standing stock still when not singing, holding out their arms when they are singing like church choir directors, or the drummer crashing cymbals together with huge flourishes.

The first half is sweeping, slightly spacey ambient electronic, splintered by the vocal pairing. It’s unexpected when it’s interrupted by a fifteen-minute intermission that leads to, in the words of their pre-recorded voice over, something completely different. Let’s hand this over to John Oliver for a moment:

And he did.

It was an overstatement to bill the night as “Laibach play The Sound of Music,” as the posters did, when this was limited to four songs. And it was a little predictable that they were all arranged as Špiler accompanied by a piano before synth, drums, and Fras joining in (with the exception of “My Favorite Things,” which Fras sang alone while the items he describes in the song flashed on the screen behind him in the most consumerist manner possible).

But then things shift back from this strange diversion — as it really can only be thought of, whether or not it was what was advertised — to Laibach’s own work. Though a song like “the Whistleblowers” could fit in just as easily as a weird showtune (in the context of what we’ve just seen), there’s still the feeling that we’ve shifted to somewhere else yet again. Not ambient, not militaristic, not overtly satirical, and the most fascinating part is, if this kept going all evening, surely the tone would continue to change.

Laibach photo by Johannes Leszinski

After the encore, and before people can quite get through the studio doors, the John Oliver clip flashes up on the screen. It’s intercut with the band presumably in North Korea, and the suggestion that maybe their trip didn’t go especially well. But we’ll find out soon; the documentary will be out later this year.

LIVE REVIEW: John Grant, Store Vega, 29.11.2015

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John Grant - Photo by Johannes Leszinski

Photos by Johannes Leszinski

If John Grant’s professed love for Denmark is an act, it’s a damn convincing one. It’s not the first time he’s been on the stage at Store Vega, or spoken about how much he like the country, the people, and the “dope language” (and he speaks enough languages for this to be plausible). It’s not the first time that he’s told a crowd the story about naming the song “Queen of Denmark” for the country just because he likes it, even though he admits it has nothing to do with Denmark at all.

Some of that could be part of a script, but there is a mutual affection that circulates around the room. John Grant clearly loves what he does. His interactions with his band show how much they love what they do as well. Grant spends his songs wiggling and strutting about the stage, sometimes moving in a relaxed modification of the Robot and, as when he performs “You & Him,” gesticulating like his inner pop star is ready to burst out.


Though Grant has moved more into the electronic side of pop with his latest album, Grey Tickles, Black Pressure, when he pulls out stripped back songs like “Glacier” or, from his days with the Czars, “Drug,” his voice rings through the room and silences everyone. Because of this, the mix could have used more vocals in the louder songs, as the lower frequencies he works with compete too much with his range.

Asking for more vocals is asking for more of a good thing, though. When a technical problem threatened to derail “Black Belt,” and Grant suggested to his band that they just move on, the crowd protested, clearly hearing what wasn’t meant for them. And he listened again when an audience member called for “Outer Space.”


When Grant does play “Queen of Denmark,” everyone in the room treats the song like it’s their own, hugging the people they came to the show with and singing the last line of the song when prompted. It’s a strange warm and fuzzy feeling for song whose chorus suggests, “you bore the shit out of somebody else.” The love in the room was undeniably mutual.

As an aside, openers Fufanu were an odd fit for the evening, not sharing much in common with Grant other than his adopted home of Iceland. But the duo, fleshed out to a full band of androgynous, baby-faced boys for the tour, have an intense energy. Their singer twitched across the stage for half an hour to loud, electro-supported alt rock. They’re worth watching out for.

LIVE REVIEW: Protomartyr, Loppen, 12.11.2015

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Protomartyr / Photo by Morten Aagaard Krogh (

Photos: Morten Aagaard Krogh

Listening to any of Protomartyr’s albums, and in particular focusing on the deadpan delivery of singer Joe Casey, it’s that their show at Loppen will go one of two ways: Either Casey will be a complete maniac on stage, or he’ll match his dry delivery with every other aspect of his being.

As it turns out, it’s the latter of the two options. Casey is as nonchalant in his body language and facial expressions as his voice suggests he would be. When he does growl, he’ll immediately avert his gaze as though he surprised himself. It’s hard not to look at him, not just because he’s center stage, but because he’s in the middle of so much more overt activity. It’s especially clear at the halfway point in their set when they play “The Devil in His Youth” and the band band have loosened up and a few hoots are called from the crowd, but Casey is singing with one hand in his pocket.
Protomartyr / Photo by Morten Aagaard Krogh (
This does serve to highlight the charm of their bassist rocking back and forth on his toes with surprising lightness. Protomartyr are not a bass-heavy band, and it would be easy to overlook his contributions, however when you can see him literally in time with their drummer, it is immediately clear just how strong their rhythm section is.

Their natural energy is a good counterpoint to a singer who, meanwhile, is placing a failed balloon animal that has made its way on stage next to his beers as though this were perfectly normal (in the encore, he’ll conjure that it’s a “sword – I hope”).

What makes such a reserved performance so watchable is undefinable, but by the time “Why Does It Shake?” rolls to a close we’ve all been sucked into the peculiarity. You definitely won’t get the same thrill just by turning up the volume on the album.

LIVE REVIEW: Chelsea Wolfe, Loppen, 06.11.2015

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Friday’s show at Loppen was the third time we’ve seen Chelsea Wolfe in the last 15 months. At this point, we know what to expect: We know Chelsea is a talented musician who surrounds herself with other talented musicians. We know there’s going to be a heavy gloom cut through with surprisingly delicate vocals — her latest album, Abyss, guarantees this. Any serious deviations from when we last saw her at Roskilde would come as bolts out of the blue. Since that didn’t happen, these are the details I’ve chosen to focus on instead:

  • When the band finally take the stage after an extended string introduction, there is a notable shift in the air. The chatty audience finally shushes and the growing noise develops a sinister quality.
  • Despite having a capable backing vocalist, looped vocal tracks play a big role in Chelsea’s performance. There is something disorienting and mildly fascinating in watching her stomp her loop pedals. Loppen is a physical good space for vocal harmonies.
  • No matter how many times I see her, I will never not be impressed by Chelsea’s backing band. I maintain that her drummer is half man, half machine.
    Chelsea Wolfe-2719
  • It is so much hotter in Loppen than it seems like it should be in November. I’m grateful to be leaning against a cool wall even if it obstructs my view of the stage. Chelsea, of course, is wearing something flowy and in this case one-sleeved. But the sleeve she has is long, and you have to admire that kind of commitment to a look.
  • “We Hit a Wall” elicits not only cheers from the audience, but huge smiles from those behind the soundboard.
  • “That was the song I came to hear, so now we can go,” says an American bro immediately after “We Hit a Wall.” Dude is standing at least 10 feet away from me and does not understand that his voice carries.
  • That said, watching rows of other audience members throw their heads forward at the same time is quite visually pleasing.
  • Chelsea has always been something of a shy performer. Maybe it’s the intimacy of the space, but this is the most engaged I’ve seen her. She plays guitar for nearly the entire set, and for the one song she doesn’t, she uses the stage more than I’ve seen her. It’s a nice development to see in an artist in a relatively short period of time.
    Chelsea Wolfe-2681
  • About an hour and a half, this is also far and away the longest set I’ve seen her play.
  • When the set ends in a squall of noise and feedback, she falls over her guitar repeatedly looking rather like she’s trying and failing to do push ups. Again: signs of shedding her more reserved stage persona.
  • To the parents who brought their slightly bored looking 9-year-old daughter with the giant, noise-canceling, pink headphones: Thank you, that was inspiring.

LIVE REVIEW: Metz, Loppen, 20.10.2015

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Photo by Tom Spray

It’s Metz’s first time at Loppen, but not their first time in Copenhagen. After doggedly touring here over the years, there is a crowd of devotees that have turned out for the band, many in their Metz t-shirts, and some buying them at the merch table to put on immediately over their long sleeved shirts.

This was not an audience that would stand passively by, and less than halfway through the set there is a presumably drunk fellow dancing on stage with the trio. From opener “Headache,” there is scarcely a break in the chanting or fist-pumping, making it feel a little like a basement show in New Jersey (a positive in terms of energy, anyway).

Metz (Photo by Tom Spray)

Amidst the more obvious thrashing and clanging Metz are associated with are circular, looping motions within the songs. But you could never be swept up in these movements, because the band themselves are constantly twitching to throw off that repetition, and there are flashing lights blinding you with a redoubled violence the band don’t exhibit themselves. Though far from low energy, the boldest move of the evening comes when singer Alex Edkins climbs on the drum kit only to find out just how low the ceilings at Loppen are (earlier in the evening, the singer of opening band Crows made a similar discovery when he climbed on a speaker).

Metz just released their second album, II, earlier this year, which is why it’s unexpected when they introduce something newer still. The song, “Eraser,” released as an as-yet non-album single only a week ago, is a frayed song that feels constantly pulled back from the brink with an easy to shout along chorus. Which is convenient, because Metz’s lyrics can feel incidental to the screaming; Edkins is not one for enunciating, and the reverb on his mic doesn’t make it any easier to understand him. He is, albeit, understood clearly enough when he announces their last song, and maybe that accounts for the abrupt way the house music is brought up before he can finish saying good night.

LIVE REVIEW: Wire, Jazzhouse, 09.10.2015

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Wire at Jazzhouse

There is an energy that runs through Wire’s sold out show at Jazzhouse that creates a vibrancy you can feel as though it were tangible. It’s not just the energy of a group that have been playing together for nearly 40 years and have an intuitive dynamic, or an adrenaline shot from a decades-younger member, or the exuberance of a crowd with an equally diverse age range who stumbled in from the good cheer of Kulturnatten. It’s the emphasis on the new that makes Wire, whose original members are all past 60, feel as vital as ever.


Thought not totally immune to nostalgia, Wire have been more forward looking than many of their contemporaries. They are not the only band of the post-punk era to continue to produce work, but they have continued to create at pace beyond most of their contemporaries, and they have continued to emphasize their new work over their old. They don’t really care how many times people call for “1 2 X U,” they’re not playing it (the contribution from Pink Flag to the set is “Brazil”).

While there is an obvious common thread through their work, through the set you can see as well as hear how Wire’s songs have evolved from album to album. Watching their second guitarist Matt Simms hunch over his pedal board without his guitar, pressing buttons and turning knobs and creating multi-dimensional swells of noise behind the more utilitarian structures of the rest of the band. From a technical perspective, the sole criticism is that there were times when Colin Newman’s vocals were too low.

Wire at Jazzhouse

Rock music doesn’t make you fear death, it makes you fear aging, becoming irrelevant and simply too old to keep up with the younger generation. It can make you feel that way by the time you’re 25 if you only ever look back to what you loved as a teenager. But if the bands you loved as a teenager, and the bands you love who made great records before you were even born continue to make great music, why should any of us worry about getting old? If I must age, let me age like Wire.

INTERVIEW: Natalie Prass

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If you’ve ever thought the life of a touring musician must be glamorous, Natalie Prass will be happy to disabuse you of that notion. When we met up with her before her show at Lille Vega back in August, she sniffled through our interview thanks to allergies and a mold infestation on her tour bus.

Though clearly under the weather, she was quick to stress how happy she was to be playing in Copenhagen. “The last time we were going to play here, our airline was on strike. We missed our show. We were stuck in Dublin for 10 hours at the airport when we were touring with Ryan Adams.”

Though Prass didn’t make the show, the audience still got to hear her songs. “[Ryan] dressed in drag as me and played a whole set of my music. Ryan’s drummer is from Copenhagen, so he came out and told the whole story, so people weren’t like, ‘What?’”

Only two days into her latest European jaunt, she told us about life in Nashville, her plans for her new album, and a Simon & Garfunkel cover she’s really excited about.

Where in the US are you from?

I live in Richmond, Virginia, right now, but I lived in Nashville before I moved back to Richmond for eight and a half years. I haven’t really been to Richmond since I moved there. I moved there in January, I kind of feel like I don’t live anywhere.

Your music doesn’t have a Nashville vibe.

Oh thank you! That’s a compliment! What’s so funny, when I first recorded this record, I didn’t know what to do, just graduated college, bringing my record to a bunch of publishing companies. They were all like, “What are you doing in Nashville? You belong in New York. We can’t do anything with you.” Of course, some of them were like, “Would you want to write some country music?”

I was more into the underground scene in Nashville, which is now really thriving. I’ve always been a stay-in-my-room, do-my-own-thing kind of person anyway.

What is the underground scene like in Nashville?

House shows are really big. My friend Laura had — it was called Little Hamilton — and she rented out this warehouse space in South Nashville where there’s nothing around there and her and her artist friends made rooms in the warehouse and held these big shows. That’s where Jeff the Brotherhood got their start. The houses have names and eventually that started to catch on. “I’m going to Little Danzig tonight,” and everybody knew what that was. That doesn’t really happen that much in Nashville, so that was special.

When I first moved there, I had no friends. I knew a couple people, but they were a little bit older than me. I played everywhere I could. I did a bunch of open mic nights and writers rounds. “I live in this city and I want to play music, what do I do?” I just did everything I could for a while until I got some traction. But it took a while, because I was in college, too.

Nashville’s really competitive. Lots of really bad music there.

How does Richmond compare?

There’s not really a reason to go to Richmond. You can go to the capitol. But it’s really diverse. We’ve got VCU there, so there’s a lot of artists, lot of public murals. Nashville didn’t have any of that. It’s kind of starting to happen in East Nashville, which is the cool part of Nashville, but Richmond has a great jazz music scene. It’s just really different. There’s no industry there, so if you’re a creative person you don’t have that hanging over your head.

You’ve been on tour a lot this year.

Yeah, it’s been crazy. I was in Jenny Lewis’s band right before this. She’s still touring on The Voyager record she released, but we toured before the record was released, playing all the songs, getting in the groove for that release. Then toured up until Christmas time, then the record came out late January. That Jimmy Kimmel Show, I was like, “Yeah, just book my ticket to Richmond.” So I just flew to Richmond, stayed on my friend’s couch, looked for a place to live, then went on tour. I feel like I’m getting to that point where I’m around some mold and I get sick. It’s getting to that point where we’ve been going at it so hard, and I haven’t really stopped for the last couple years.

Natalie Prass

Does it feel like a big shift since the album came out?

Yeah, I think we’ve just been playing so much since January, that I’ve just really started discovering things that I like to do on stage. Definitely more comfortable in my body and comfortable with the thoughts I have on stage. I like to have fun now. I kind of took myself a little more seriously — I mean, I still take myself seriously, but I’m more relaxed now. It’s really important to me to just have a good time on stage and not worry about little things too much. Especially stage banter; I think I’m finally comfortable with it.

But this is like a dream come true, because being in an industry town, I started to figure out what needs to happen if you want to release a record and you want people to hear it. I just never had the proper team or resources. That’s when I recorded this record with SpaceBomb, and it was on hold, I was like, “What do I do?” and I started getting super down about everything. So it’s a dream: “Oh my gosh, I have a manager and I have a publicist and I have a great a band.” I never could afford to bring a band on the road. It’s all these things that I’ve been hoping to have are now all happening and it makes things a lot easier.

It makes a big difference. I just didn’t know what to do, me, myself. And if you are trying to play the manager role for yourself, it’s not going to do anything. My life is totally different than it was before. Even when I was in Jenny’s band, it’s totally different. I get it. I was like, “Man, I wish Jenny would hang out with us more,” but now it’s like, “No, she’s so busy.” I get it now. She has a lot to do. She has to rest. I learned a lot from that tour.

When did you actually record the album?

We started in December 2011. It’s just so funny, because I feel like this kind of music — acoustic arrangements and stuff like that —  there’s a lot of it coming out now. When we were doing this record, it felt like electronic stuff was really getting cool. Maybe it’s all meant to be. Maybe my record wasn’t supposed to come out until now. Maybe people wouldn’t have been this open to it.

Has anything changed from initial recordings?

We revisited “Christie.” We wanted to do live vocals with the live string quartet, just to make it more open sounding, more natural. But I didn’t really rewrite anything. It would be more of an ordeal to do that, because we did everything to tape, and there’s just so many tracks in each song. You can always go back, but there’s just a point where you have to be like, “It’s done.”

Natalie Prass

The string quartet is what gives it such a distinct feeling, especially “It is You.”

Tray, who’s playing guitar with me now, was the string arranger. He did all of “It is You,” that was his thing. It was so much fun, me and Tray at the piano at the studio at the Attic in Richmond, when we were doing all the pre-production; he and I just playing through it and working out the key change at the end — there’s a very subtle key change at the end — just talking through it, and how he’s a huge Frank Sinatra fan. I was just so excited, because when I wrote that song I was like, “I wish, one day, it could be like that.” Then when he sent over the Sibelius midi string arrangements, as horrible as midi strings are, it was still brilliant. That’s still one of my favorite songs I’ve ever written.

Are you working on anything new?

I am, slowly, piece by piece. Things will come to me all the time, and I’ll just record it real quickly. Then I’ll go back and work on it. Usually, how I work is I get into a cycle and I can’t stop. It’s like my writing part of my brain is turned on and I can’t stop. But it’s really hard to get into that cycle when you’re traveling. We’re going to have off in December and January, so I’m going to just write, and I can’t wait! I’m counting off the days. That’s my favorite. I like touring and playing and singing — there’s nothing like singing and playing with my band, they’re amazing — but I love writing, creating. That’s where my heart is for sure.

Have you played any of your new stuff live yet?

Just a few songs here and there, I don’t want to bore people to tears. And we don’t really have time to rehearse. Because I’m writing the song, and I’ll send it to them by email, but we won’t have time to rehearse it. But we worked out a pretty sweet cover of “The Sound of Silence” that I’m really excited about. We all kind of like that funky, 60s, swingy stuff, so it’s fun to have everybody put there taste on the songs. They’re a really good band. I only have a nine song record that’s out that people know. I have a lot of freedom right now. We mix it up, throw in random covers and new songs, I’m really taking advantage of how loose we can be right now.

So far this tour has been awesome. Besides the mold thing, but we’re figuring it out. It’s just so funny at this point. I’m like, “Oh great, things are getting better!” You’re in a van, and van touring is great, but, it’s also really hard when you have interviews or early load-ins. A lot of festivals we’re doing, we’re playing earlier in the day, the main stage but earlier, so we have to be there crazy early, so you have a shitty night, then you get up really early, and drive for hours, it just gets really tiring. So I was really excited about having a bus this time around so we can sleep while we drive. And it’s super musty and moldy, and it’s like, “Aaaaah! Almost! Almost!”

LIVE REVIEW: Sunn O))), Koncerthuset, 15.04.2015

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In lieu of a supporting band for their show at Koncerthuset, Sunn O))) had a fog machine for an opening act. At precisely 21:00, the fog machines switched on and gassed the first few rows of people with curiously warm smoke that smelled of cedar.

Twenty minutes later, so much smoke had filled Studie 2 that no one seemed to notice that the overhead lights had switched off. Indeed, the slow rumble of applause through the crowd as the band took the stage suggests that only context clues alerted those at the back of the room that Sunn O))) had appeared in their monastically-robed glory.

The impact of the first notes is a shock. First it’s the noise, then the sudden thud that rolls through your body and compresses your breathing. With smoke still pouring from the fog machines, I’m grateful that the emergency exits are clearly visible even through the haze.

But once the initial shock wears off, the noise is lulling in the way a thunderstorm is lulling. There is the occasional, startling crash of noise, but everything is so slow and deliberate — from the guitars to the way the band members pass around bottles of wine — as to become strangely comfortable. Even Attila Csihar’s voice, whether he is singing in a Gregorian chant style or growling, is soft, albeit sinister.

Sunn O))) BW-1585

Sunn O))) has a physical presence unchallenged by any piece of music I’ve ever experienced. The music is like a living creature breathing, shaking you clothes, making your insides vibrate and threatening to tear the room apart. Mostly it’s luring from beneath, like a volcano, but at times manic outbursts pierces through. The room becomes the instrument of Sunn O))) – the sound waves clashing and taking new shapes, the walls rattling. Imagine being a tiny insect lost on the engine of a giant truck and then suddenly the engine turns on, that is more or less how it feels to enter a Sunn O))) concert.

There is a shift just after 23:00 when Csihar, after an absence from the stage, returns not in his monastic robes but in a Hyperion-inspired, mirror-armor cloak with spike crown and purple LED lasers shooting from his hands. His movements and voice are unaltered, but now there are beams of purple light cutting through the smoke.

When the evening comes to a close, with Sunn O))) raising their hands aloft and the audience mimicking their movements, it suddenly becomes apparent how draining this show has been. At just shy of two hours, the unbroken noise is demanding for the band and demanding for the audience. It’s an unparalleled experience, but I’m reasonably certain permanent damage has been done to three of my five sense.

Sunn O)))-1565

Photos by Morten Aagaard Krogh (

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