Online music magazine based in Copenhagen, Denmark


Morten Aagaard Krogh

Morten Aagaard Krogh has 12 articles published.

LIVE REVIEW: The War On Drugs, TAP1, 26.11.2017

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The War On Drugs - Roskilde Festival 2015 (photo by Morten Aagaard Krogh)

Getting to TAP1 feels a bit like a journey through no man’s land on the way to a rave for the few in the know. It isn’t exactly like that, though. Situated in a former distillery in one of the few unpolished areas of Copenhagen, the 4500 capacity venue, where the War On Drugs are playing, is enormous: it’s about 100 meters from one end to the other, and even though it’s only half filled and I’m standing in the middle of the crowd, the frontman Adam Granduciel is just a tiny silhouette on the bright lit stage.

But The War On Drugs is not a band that you come to see, it’s a band that you come to hear. It’s unlikely to add anything to the concert if Adam Granduciel suddenly turned into some guitar-throwing rock-god I. With that in mind I learn to accept that the show is entirely stripped of anything of visual interest.

After opening with “In Chains” from their latest album A Deeper Understanding, The War On Drugs move on to “Baby Missiles” from their 2011 album Slave Ambient, and I am relieved to hear that the textured and layered music doesn’t loose all of its details to the raw surroundings. Because being spoiled with venues such as Loppen, Jazzhouse (rip) and Vega, I have to admit, that I was quite nervous about the sound. Concrete and steel aren’t exactly materials known for their acoustic qualities and apparently the sound hadn’t been top notch when The War On Drugs played the night before.

During the two hour set The War On Drugs plays almost the entire album A Deeper Understanding and about half of Lost in A Dream, plus a few songs from Slave Ambient and Wagonwheel Blues. I think it’s debatable if The War On Drugs ever made a hit, but it feels like a hit parade anyhow.

Adam Granduciel is not particular chatty, and the music is in large executed very much like it is on record. People often associate the The War On Drugs with driving through vast landscapes, and I am thinking to myself that this particular road trip could just go on, because at no time do I feel boredom creeping in.

It’s a very diverse crowd; the majority here is, like at most other concerts, people in their 20’s and 30’s, but there’s also quite a few who grew up while Bob Dylan, Bruce Springsteen and Neil Young were still young. Maybe it’s because the band seems to evoke these great artists, while still being very much their own, that they have such a wide appeal.

The photo was taken at Roskilde Festival 2015 by Morten Aagaard Krogh 

PHOTOS: Roskilde Festival 2017

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Father John Misty live Roskilde Festival 2017

LIVE REVIEW: Jessica Pratt, Jazzhouse, 30.08.2015

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Jessica Pratt’s album Night Faces was a regular on my stereo in 2014. Spotify even claims that she was the artist I played the most during that whole year, though the fact that I often fell asleep with Night Faces on repeat might have messed with their stats. But this is just to say that I had really been looking forward to hearing her live. Yet as the show progresses I find it hard to enter the music, and it is only when I close my eyes that I find the Jessica Pratt that I have come to hear, her music at the same time intimate and distant.

I open my eyes again, gaze over the chairs – the concert is one of those where people are seated – and ask myself what the ideal concert with Jessica Pratt would look like. What comes to mind is an installation by Olafur Eliason, Your Atmospheric Colour Atlas (2009): a room filled with fog (like a Sunn O))) gig ) and lit in different colours, so that you get the feeling of being completely isolated and immersed in colour.

I close my eyes again and a new image appears. I imagine Jessica Pratt by a window in a rooftop apartment playing her guitar (something like this session with St. Vincent), and I realise that to me Jessica Pratt’s music lives on the extreme side of the distance/intimacy continuum – and that the setup at Jazzhouse doesn’t take me there. But let me be clear, Jessica Pratt and her guitarist perform the music to perfection, and Pratt’s dreamy voice and finger picked guitar come out crisp and beautifully accompanied by her second guitarist. The volume is low, very low, but it helps to bring her closer. Jessica Pratt addresses the audience with only a few words and doesn’t do much to boost the visual appearance of the show. That is not what bothers me either, I can’t image it would have suited the music if she had taken on the role of an stand-up comedian.

jessica pratt-2467

In the end it comes down to the rows of chairs lined up against each other, the plastic kind that are hard to sit on and easy to stack. I get the point about seated concerts: they help people shut up and keep their phones in their pockets. Looking over the rows of people sitting upright, backs straight, I see a woman leaning her head on the shoulder of a man. It looks as if they are having a magical moment – Jessica Pratt’s music has the potential to create those. This time it only happen to me as I shut out everything except the music. I guess I have to work on my attitude towards chairs. 

PHOTOS: Yung + Total Heels, Stengade, 04.03.2015

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Total Heels | Stengade | Photo by Morten Aagaard Krogh (

Photos by Morten Aagaard Krogh (

Total Heels | Stengade | Photo by Morten Aagaard Krogh (

Total Heels | Stengade | Photo by Morten Aagaard Krogh (

Yung | Stengade | Photo by Morten Aagaard Krogh (

Total Heels

Total Heels | Stengade | Photo by Morten Aagaard Krogh (

Total Heels | Stengade | Photo by Morten Aagaard Krogh (

Yung | Stengade | Photo by Morten Aagaard Krogh (

Total Heels | Stengade | Photo by Morten Aagaard Krogh (

Northside Festival 2014

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Photos by Morten Aagaard Krogh




A$AP Rocky




Baby In Vain


Baby In Vain (Photo: Morten Aagaard Krogh)

The Brian Jones Town Massacre

Brian Jones Town Massacre (Photo: Morten Aagaard Krogh)


Röyksopp and Robyn



Röyksopp & Robyn (Photo: Morten Aagaard Krogh)

The National



Lana Del Rey






Franz Ferdinand

Franz Ferdinand (photo: Morten Aagaard Krogh)



Mount Kimbie


Reptile Youth




Cold Specks

Cold Specks




Arcade Fire

Arcade Fire

Arcade Fire

Arcade Fire

James Vincent McMorrow

James Vincent McMorrow


Wild Beasts

Wild Beasts

Wild Beasts

Wild Beasts



Royal Blood

Royal Blood

Royal Blood

Royal Blood
The portrait of Royal Blood explained in a tweet:


Listen to the new album teaser from Ice Cream Cathedral

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Today, Ice Cream Cathedral announced they’ll will be releasing “The Swans” – the first single from their second album – on March 10th 2014. Last night the band played an invite-only concert where they revealed new material from their forthcoming album. The set was tight, and gave a sneak peak to their new dark electronic sound. As they explain in our recent interview the band explores new ground on their upcoming album.

The band also released a teaser video for the album, the bands second full length album will be released in May.

View the photos from their show yesterday below (Photos by Morten Aagaard Krogh)





FEATURE: Ice Cream Cathedral

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2013 was an exciting year for Ice Cream Cathedral. Not only did they release ‘The Drowsy Kingdom‘, they also signed with the Norwegian label Riot Factory, playing several festivals along the way including Roskilde Festival as part of the festivals Rising program. This year will most likely triumph it; less than a month has passed and the band have already released their “Reworks EP”, a selection of remixes of songs from their debut album by artists such as Sekuoia, Indians and Scarlet Chives, its also been announced the band will play showcase festival by:Larm, Oslo in February. 2014 is also the year that Ice Cream Cathedral will be releasing their second album.

Here Today visisted the band in the studio during the recordings. While the first album was recorded in isolation somewhere in the woods of Sweden, the second album is recorded in a studio in Copenhagen, The Black Tornado. The album will be a higher paced record with a more club feel to it; tension arises between the airy melodies and the constant, forward movement of the rhythm and so the band continues their exploration of contrast. In the interview below the bands gives us a glimpse into their recording process and how it differs from the one used in the making of ‘The Drowsy Kingdom‘.

LIVE REVIEW: MØ, Store Vega, 28.11.2013

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“This is the wildest thing! We haven’t even got an album out and still you are here”. is excited. She is half way through a sold out concert at Store Vega, a legendary venue that holds around 1500 people; she has been crowd surfing; her band is fantastic; she and her band has played 120 twenty shows in 20 countries this year and still Brazil is waiting. Her excitement is easy to understand.

Last time I saw Karen Marie Ørsted was a couple of years back when she played at Loppen with Mor – the elecro-punk duo she and her friend, Josefine, started as teenagers in 2007. I don’t remember that night as crowded.

Now she is close to the hottest thing Danish.

The first sign that told me that MØ could meet the expectations of the audience, was when I saw three horns, a trumpet, a trombone and a saxophone, lurking around on stage prior to the concert. Another early sign was when I recognized the drummer (Rasmus Littauer), who I had the chance to experience and who really impressed me with his precise and raw drumming, when we recorded our sessions with Reptile Youth and Broke.

MØ (Photo by James Hjertholm)

The band was apart from the above mentioned put together of synths (and more) and guitar, but they were dark figures while a follow spot kept MØ in focus all through the concert. Her appearance was energetic and raw – her rise towards stardom did not seem to have tamed her in any way. The performance felt both confident and honest.

As a backdrop there was some really impressive visuals projected on a canvas spanning the whole height of the scene. It was in large part a mix of landscapes, archival footage and triptychs of MØ performing the backup vocals to her songs. Everything was kept in a rough black and white aestethic at times reminding me of the one pioneered by photographers as Daido Moriyama from Japan. The interplay between and the visuals and the live performance worked really well.

MØ (Photo by James Hjertholm)

MØ played a full set and considering the fact that there is no album out yet, that is quite extraordinary; it basically meant that even the most die-hard fans probably only knew five or six songs. The concert could then be seen as a dress rehearsal – a promising one indeed.


LIVE REVIEW: EL-P and Killer Mike (Run The Jewels) | Lille Vega, Copenhagen, 20.11.2013

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The bass makes my chest bounce, it makes my nostrils vibrate, it shakes my legs but what is most important: It makes me bob my head. From the moment that El-P and Killer Mike aka Run The Jewels walk on stage they seem determined make the winter cold crowd move. That is what they do and they do it loud!

Last time (my first) I saw El-P was in Loppen, Copenhagen on his Cancer 4 Cure tour. I have been following him since the days of Fantastic Damage, so we where looking at a pile of expectations that had been build up over a decade, but at the end of the night it was a happy boy that zig-zagged his way home  from Loppen. It is about a year ago now. This time El-P and Killer Mike was set to play Store Vega, but the concert was rescheduled to Lille Vega,  yet there was still room – though not a lot. Still someone out there must have been asleep, because Run The Jewels certainly deserve a full house.

EL-P and Killer Mike (Photo by Tom Spray)

The show was intense – just like the album. El-P and Killer Mike are both skilled rappers with many years of experience; when it comes to rapping they are like atomic clocks. On time. In the second half of the show the duo opened up for their respective back catalogs with songs like “Drones over Brooklyn” (from El-P´s album Cancer 4 Cure), “Big Beast” (from Killer Mike’s 2012 album ‘R.A.P. Music), “The Full Retard” (also Cancer 4 Cure) and a personal favorite of mine, a vocal only version of the late nineties Company Flow song called “Patriotism” that made me recall the Allen Ginsberg poem “America”.

Not only did they give a highly energetic live performance, they gave the audience a few good jokes and good vibes as well. The duo really seemed to be enjoying themselves. El-P said it himself towards the end: “I must have the greatest job in the world because each night I get to see this guy [Killer Mike] dance”.


LIVE REVIEW: Nick Cave & The Bad Seeds, Falconer Salen, 08.11.2013

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Nick Cave does not crowd surf. He hovers above the audience, on their hands, their shoulders, and as he leans back and raises his arms he reminds me of baroque religious paintings by artists like Francisco de Zurbarán and  Caravaggio with his hair black as tar, the silvery shirt and the hands of the crowd stretched towards him.

Nick Cave and The Bad Seeds live is one long magic moment.

From the beginning there is no hesitation; the band of seven simply walk on stage, Nick Cave puts is hands in the air, says hello, and goes directly into “We Know Who U R” from the bands 15th. studio album Push The Sky Away. It takes them just about five minutes to get warm and from then on and until the fourth encore, the quite “Give Us a Kiss” that did not make it onto Push The Sky Away, Nick Cave & The Bad Seeds simply rule Falconer Salen.

After the second song, “Jubilee Street”, I note: “It is long time ago since I felt like kissing the feet of a man” – which of course should not be taken too literally – and on the following pages words like “YES” or “WOW” occasionally appear written in very large letters. Pure excitement. When Warren Ellis plays the violin, it is a violin so longing, haunted, lonely that it goes right to you bones, and when the drummer hits the drum like a gunshot in “Stagger Lee”, it is a sound that leaves you cold, and when Nick Cave takes the hands of the audience and makes them touch his chest while singing “Listen to the beating of their blood” it is iconic. All through the concert Nick Cave stays in character while connecting with the audience making them participants in the staging of the songs.


The setlist consists of older songs like “Mercy Seat”, “Tupelo”, “Do You Love Me?”, “Into My Arms” and songs from the new album Push The Sky Away. Every song is performed with urgency and passion. In a recent interview with Rolling Stone Nick Cave explains: 

“Certain songs are living things. “Your Funeral, My Trial” [from the 1986 album of that name] – we played it four or five times on this tour, in a row. One night, I just felt it had drawn its last breath. It died in front of me as I was singing it. I said to Warren, “That’s it for that one.” We don’t play the hits. They are the songs that have the power to survive.”

The dedication, the continuous attention to the songs, to where they are now; you can really feel it. Nick Cave & The Bad Seeds are not just “covering” their past; every note you hear feels relevant. The songs are still alive, though some are over 20 years old .

I have had months where I only listened to Nick Cave & The Bad Seeds. November 8th 2013 I had my first experience with the band live. Never would I have dared to expect such a complete concert.



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