Online music magazine based in Copenhagen, Denmark

Category archive

Blog - page 2

This is the blog of the Here Today Team

LIVE REVIEW: Deerhoof, Jazzhouse, 13.09.16

in Blog/Live Reviews by
Deerhoof live Jazzhouse Copenhagen

Photos by Amanda Farah

It’s hard to think of a band as fun, weird and childlike as Deerhoof as, well, old, but 20 years in the business is a pretty significant amount of time. With around sixteen albums crowding their discography, the San Franciscan quartet’s unique brand of ultra-hyphenated, off-kilter art-rock has undergone endless refinements. If any band deserves to share that famous trope of the Fall, “always different, always the same”, it’s Deerhoof, a band that could record an album using nothing more than kazoos and still be immediately recognizable.

Case in point: towards the end of their set, I am puzzled by an familiar, but unusually riff-heavy song. After a couple of choruses, straining my ears, I eventually untangle the words: “Pour Some Sugar On Me.” I defy you to go out tonight and find me another band worth their salt playing Def Leppard covers, but more importantly, to incorporate them into a set without it sounding completely bonkers.

Deerhoof live Jazzhouse Copenhagen

It helps of course that Deerhoof’s latest album, The Magic, comes closer to standard rock tropes than most of their recent records. But for every Ramones-channeling “That Ain’t No Life For Me”, there is still a piece of their patented balance of unhinged and deadly precise, a la “Kafe Mania!”. Unhinged is a fairly apposite descriptor of the set as a whole, with John Dietrich’s guitar losing strings every other song.

In these technical pauses, drummer Greg Saunier comes to the rescue. Channeling Crispin Glover and Steven Wright simultaneously, Saunier embarks on tortuous meditations on the heat in Denmark and how it might be affecting both the tuning and the life-span of guitar strings. A good portion of the audience is baffled, but I would be the first to buy Saunier’s HBO special should he decide to ditch the drums for a stand-up career.

For all their fun, there is a challenging element to Deerhoof, a wry art to their playfulness that can sometimes be at the casual listener’s expense. Returning to stage for an encore, flushed by a blistering set, singer Satomi Matsuzaki spends a good ten minutes teaching the audience a rhythmically-challenging call-and-response. Satisfied that we’ve got the gist, the band get going. The song lasts a minute. The band leave. Best ending to a set I’ve witnessed in a while.

LIVE REVIEW: Jeffrey Lewis and Los Bolts, Stengade, 08.09.16

in Blog/Live Reviews by

Jeffrey Lewis: the William Morris of early 21st century Manhattan. A rather bold declaration, and definitely a facetious one, but when confronted with the lo-fi multimedia roadshow that is Jeffrey Lewis and Los Bolts, you can’t help but react with gleeful exaggerations.

Let me follow that with another one: Jeffrey Lewis is one of the very few musicians you can enjoy without knowing a single song he plays. In my case this is almost literally true, since I had not followed Lewis’s career closely, beyond enjoying his musical histories of the Fall and punk on the Lower East Side.

The effectiveness of his lo-fi-dom, typified by the pickup sellotaped to his trusty and battered acoustic, is in the way that the music acts as context, a score for his intimate tales of existential befuddlement. Which is not to say that the music is unimportant, but rather that it is there to serve the lyrics, rather than having a bunch of words thrown on top of it.

Jeffrey Lewis live at Stengade 2016
Jeffrey Lewis live at Stengade 2016

They have the immediacy of novelty songs, but their wry observations, particularly in songs like “When You’re By Yourself”, give them the staying power of a short story that gets so close to your daily life that it is no longer a matter of fiction and more one of millennial phenomenology. The pretension is mine, not theirs.

And just when you are worried things might be getting a little to real for you, Lewis is there to help with a capella renditions of Nirvana songs accompanied by literal and hilarious depictions of the lyrics, not to mention a brand new installment of his long-running history of Communism.

The night closes with a Pixies cover, more Nirvana “music videos”, and profuse apologies from Lewis for not having time to play even more songs, giving us just enough time to buy a few (ridiculously inexpensive) copies of his comics before riding home.

Interview: Tacocat Talk Touring, Birth Control, and Powerpuff Girls

in Blog by
tacocat band

Seattle quartet Tacocat have brought the raucousness of Riot Grrl back with a wickedly barbed sense of humor. The band, comprised of singer Emily Nokes, bassist Bree McKenna, drummer Lelah Maupin, and guitarist Eric Randall, rolls feel-good punk together with lyrics reflecting life for girls, whether that means periods, cat-calling, or childhood obsessions with horses.

The band records at a pretty steady rate. Their new album, Lost Time, was released on Subpop subsidiary Hardly Art in April, and it seems like the only interruption to recording is an extensive round of touring.

“We’re trying to figure out when we want to write some more songs before recording our next…anything,” says Lelah.

“You have to schedule the free time, too, so you’re not like, ‘Our next album is about what the back of the van looks like,’” says Emily.

Tacocat are as hilarious in conversation as they are on record. The three women have an energetic dynamic, often finishing thoughts and jokes for each other. Eric, meanwhile, chimes in occasionally, mostly quiet but clearly listening actively to fit in his own jibes. We sat down with them before their show at Huset back in May when, in addition to life on the road, they talked about ’90s TV reboots, emergency contraception, and why it can be okay to read YouTube comments.

You’ve been on tour for a month now?

Emily: This is actually our second. We had a US tour for a month, and then we were home for 24 hours just to take the flight to London. We’ve basically been on tour for two months.

Lelah: It’s becoming a little bit blurry. You guys were talking about Oslo this morning, and I was like, “Nope.” That was two days ago? I was like, I can’t remember two days ago. What was that?

But you give me the details and I’m like, “Oh yeah!” But you say “Oslo,” and I’m like, “No.”

What are some of the highlights?

Lelah: Every day there’s a highlight! Like Sweden was so incredible. We’ve been in Sweden twice on this tour. The people are wonderful to talk to and they treat you really well.

Emily: Shorndorf, Germany was really sweet as well, with food and nice people just being like, “what do you need! What do you need!”

Bree: It’s nice to be treated well when you’re traveling and so far from home.

Emily: The US is not like that.

Bree: The US doesn’t accommodate bands quite so well. It’s like, “here’s two drink tickets for bad beer.” Since we’re a little fragile from touring so much, it’s just nice to have. I think European culture is a little more respectful of art.

Lelah: We played in Geneva, Switzerland. We played this really big club that’s also a cultural center. Afterwards they were like, “Do you guys want to go upstairs? There’s a DJ.” There was a whole other club with a party happening. And I’m like, “Oh, a DJ. I know what to expect: Some dance music or electronic music.” Nope! We go to this club and the person DJing is 80 years old —

Bree: And he’s dancing like crazy to merengue.

Emily: They were merengue records from the 1920s.

Bree: It was exactly what you’d think of when you think of what an old man would want to party to. Everyone was dancing and having a great time.

Lelah: Yeah, it was amazing!

You write really hilarious, smart lyrics. For starters, “Dana Scully” —

All: Yay!

Emily: She’s my favorite.

Have you seen the reboot?

Emily: I have! Wasn’t that good. There were a few that were really good, I thought. Or just well-done campiness. They tried to cram too much weird stuff into the last episode, it’s like a movie.

Eric: That stupid Lumineer’s song.

Emily: Yeah, that was the most ham-fisted music I ever heard in my life.

Eric: Also, longer than the song actually is! They must have looped it.

Do you think it’s Scully or Gillian Anderson that’s the feminist icon?

Emily: I think it’s Gillian by way of Scully. Actually, I think that she made her like that, probably. Because I know that she was supposed to be a sex symbol, and even the very first episode of The X-Files there’s a scene [where] she’s running in the rain and you can see through her blouse. She’s an FBI agent and it’s like, “Hmmm white bra.”

Then both the writers for the show and I think Gillian Anderson were like, “Just make her smarter.” And she’s the smartest person on the whole show.

Bree: This is something really interesting that Emily told me about: The spike in young girls’ interest in science and law enforcement.

Emily: Yeah, it’s called the Scully Effect.

Bree: Because how many role models do we have that are like, “We’re quirky or sexy” — she’s just so straight.

Emily: They went into the hard sciences, and there’s a direct correlation to her character.

My sister wanted to go into the FBI because of Silence of the Lambs

Emily: That’s a similar kind of character, too. I feel like that sort of severe woman — or not even severe, she’s just not hysterical, which is usually how they put men and women together. Mulder is hysterical, she’s not.

Bree: I think that’s what made their dynamic so interesting: I know women with more Sully vibes, they’re always clinical about their thinking, rational, logical. That’s very much not represented like that.

A lot of your songs address serious subjects with a great sense of humor. How do you make a song about birth control like “Plan A Plan B,” for example, funny?

Emily: I think that’s just how we talk. All of our conversations about this kind of stuff are like — we’re not very serious about it together, or in real life, so it’s how we write songs together.

Bree: I remember, we were in class one day, and we were like, “Isn’t it funny that it’s called Plan B? What was your Plan A? Haha.”

Emily: It’s true! “Some guy who looked nice? I don’t know! Classmate?”

Bree: Plan A is, “He’s cute. Let me ask him out.” Then it’s like, “Plan B.”

Emily: You’re like, “There’s no way it’s going to be more than dinner — Plan B.”

That could be a really excellent advertising campaign. But then they tell you that you should just have it in your house, because shit happens.

Lelah: I feel like the only time it was ever in my house was one of my roommates somehow acquired —

Emily: Planned Parenthood would give you like 10 —

Lelah: I think she was going to make a mobile out of them. You know, one of those things you put above a crib.

Bree: There was a while I was going to Planned Parenthood and they were like, “Let me send you home with some Plan B pills.”

Emily: But they do it for every female, they give you two so if you live in a house with more than one woman you have like a gift basket of it.

Bree: But there was a while I was like, “My partner is a female,” and they were like, “Oh I’m just going to give you these just in case.” I’m like, “okay.” I’ve got so many Plan B boxes, I’m like, “Who needs ‘em? I got ‘em!” I’ve had people hit me up, though. I think they get burned out. They’re like, “You still got those Plan B boxes?” — “Yeah, don’t worry about it. You don’t have to go anywhere, just down the block.”

Emily: Dealer.

How did you end up recording the theme for the new Powerpuff Girls?

Bree: Some writers on staff at Cartoon Network were Tacocat fans, and then a lawyer called us and said, “Hey, the writers want you to do it.” He was really funny. They do mood boards, and they were like, “We want the theme song to be like Tacocat vibes.” He was like, “I didn’t know what that was. I looked it up and I found a meme of ‘Tacocat spelled backwards is tacocat,’ so I guess they want it to be like this vibe. I don’t really get what they’re going to do.” They’re like, “No, it’s a band.”

Emily: So we have a theme song now. It’s really funny.

Bree: It’s funny because their composer flew up and gave us sheet music, and we were like, “We can’t read that.” So we compromised. It’s a funny process.

Lelah: It was so weird. It’s the most professional thing we’ve ever done.

Bree: We’re a punk band. We’re not used to working with people who have composers giving us sheet music.

Emily: But he wasn’t used to us, either. He was used to studio musicians, so he thought we were going to be like — click track drums! It has to be exactly 30 seconds long!

Lelah: It’s the only time I’ve ever recorded to a click.

Were you fans of the show?

Lelah: Oh yeah. It’s a great show. It really is. We were in LA on tour, and they were like, “Oh you’re in LA? Wanna pop by?” So we met everybody and they showed us an episode before it ever aired. I cried.

Emily: Yeah, it was so good. It’s really well written.

Bree: I love the new show. The reboot is amazing, and it’s awesome to be a part of it.

Emily: We got to go around and meet every single person who worked on the show, which was nuts. There was one woman whose only job was to draw hands. All the different hands in different action poses of them holding things is all her. There was one person who does all the backgrounds, so she was just doodling, making a couch and a face. I can’t imagine how much work goes into that.

It’s all very high-tech, but they still had a ton of people on deck. I think that they didn’t want to disappoint the old-school fans either. There’s a couple changes to the way their hair ties are, the way their dresses are, and people were like, [gasp!]. It looks exactly the same to me, but as for those nerdy super fans —

Lelah: The day they released just the theme song, it was a YouTube video of just the intro, and we were like, “Oh my God, this is so exciting!” and we shared it, and we were looking at the comments, like you do — you’re not supposed to, but we did — and 99% of them were these really intense fans being like, “What’s up with that bow? It’s different. I hate the new bow!”

“Well, they don’t hate the song. This is cool.”

Bree: I was really surprised about the bow thing. People were losing their minds about these details.

Similarly, the outcry about the Ghostbuster’s reboot from people saying it’s ruining their childhoods.

Emily: You can have both. There can be an old one and a new one. You can choose and you can not even pay attention to it. You can not watch it.

Eric: But there’s women in it!

Emily: Women just aren’t funny.

Eric: Women ruin everything.

INTERVIEW: Greg Fox on Guardian Alien, Ex Eye, and Roskilde

in Blog by
Fox Millions Duo live roskilde festival

Greg Fox (right) performing with Fox Millions Duo. Photo by Morten Krogh.

Drummer Greg Fox is the sort of performer whose name comes up in a variety of contexts. Though perhaps most often associated with Liturgy, the human drum machine is also currently playing with Guardian Alien — his one-time solo project, which is currently a duo including Alexandra Drewchin of Eartheater — and Ex Eye, a new band formed with Colin Stetson. He also has an ongoing pairing with fellow drummer Kid Millions of Oneida known as Fox Millions Duo.

It probably shouldn’t be surprising that Fox’s appearance at this year’s Roskilde Festival wasn’t limited to one set. But when you consider how exhausting a festival can be for a mere spectator, Fox’s three performances over as many days with as many bands is damn impressive. Unsurprisingly, Fox was difficult to track down between sets, but he answered a few questions for us via email after the festival.

How was your Roskilde experience?

I enjoyed Roskilde. It is a huge, overwhelming festival, so luckily the backstage area for artists was very hospitable. The food was great and it was easy to relax back there.

How do you prepare for three days of shows with three different projects?

Regarding preparation, there isn’t much to it, really. More than anything I try to prepare for presenting a full set for the audience. Seventy-five minutes is longer than most sets I tend to play, so there was some thought and planning given to what material to play and how to structure the sets. The nature of Fox / Millions duo and Guardian Alien involve more improvisation within a predesigned structure, so clearly outlining those structures was the main aspect of the preparation. For Ex Eye, it’s a matter of playing the material we have been writing, so not much to do before that set besides stretch!

How did you end up playing with Ex Eye?

Colin and I had been talking about doing a “heavy” project together for a while, both of us being fans of what you might consider various forms of extreme music. Shazhad [Ismaily] has been a longtime friend and collaborator, and one of my favorite people to play and travel with, so him being in the project was a no brainer, and Toby [Summerfield] is an old friend and collaborator many times over of Colin’s, so at his suggestion Toby came on board. That’s it really. We just wanted to start a new project, so we did!

Fox Millions Duo is a fairly unique set up. What inspired the project?

What inspired the duo is mainly just Kid and I really enjoying each others’ playing and company. We have a good time together. We were asked once to do a “drum off” as an opening act for a Lightning Bolt show, and instead we decided to come up with something collaborative. And it just went from there. I think we will definitely be making another record soon.

Guardian Alien has been through a few incarnations now. Is it going to continue to evolve?

I don’t know if i can speak to any kind of permanence regarding anything at all, so it’s hard to say – but I definitely enjoy the current duo lineup of Guardian Alien. Yes we have been working on new material, using new instruments and technologies, and we are very excited about what we have been creating together.

How is Guardian Alien different from your other work?

Guardian is different than other work that I do because Alex is my partner in the non-musical realm first and foremost, so the collaboration is obviously different than it is with other people. We know each other extremely well, for better and for worse, and we also love each other very much — and we share our lives with each other. So in many ways doing Guardian as a duo with her is really joyous and fun, and in other ways it can be very challenging. But I think that challenge makes for better creative outcomes.

VIDEO: First Hate – “Holiday”

in Blog/New Music by

First Hate will be embarking on Roskilde Festival exactly a week today when they headline the Countdown stage on Monday 27th June, as a summer treat they’ve released new single “Holiday”. The track plus the video for the track was composed and directed while on the road in China earlier this spring. Speaking about the single, frontman Anton Falck Gansted had this to say about the process of writing and directing.

“I wrote the song and started producing it while we were riding on trains & airplanes across China. Driving through smog polluted valleys and endless forests of skyscrapers, it gave this odd impression of being in a parallel dystopic dimension somewhere in the future. The music was supposed to be the soundtrack of looking back to before the end of the world to times where mankind hadn’t already destroyed the planet. When we came back to Copenhagen and finished the track it ended up being about looking back at life and remembering the good times, times when you’re in a new relationship or for me just thinking back to the times when myself and Joakim first met and spent our first summer together.”

“This new track is kind of the warm up before we start recording our debut album, we did a lot of things differently this time, working with some good friends and talented people (Patrick Kociszewski & Bastian Emil) who recorded bass and drums for us. In the end it’s a holiday track and we’ve had to have fun making it.“

“The video is a bunch of homemade videos we shot while on our tour in China last month. Fused with some photo booth shots of me singing in front of the computer. It’s a way for us to be able to look back at these times and remember them once we’ve grown up.”

Live dates:
27.06.2016 – Roskilde Festival, Roskilde, DK
08.07.2016 – Le Point Ephemere, Paris, FR (Tickets)
09.07.2016 – SCP Festival, London, UK (Tickets)
21.07.2016 – Boomtown, Gent, BEL (Tickets)
12.08.2016 – Sodabar, San Diego, USA
13.08.2016 – Berserktown, LA, USA
15.08.2016 – Empty Bottle, Chicago, USA
17.08.2016 – Nothing Changes, New York, USA
14.09.2016 – The Waiting Room, London, UK
15.09.2016 – Wharf Chambers, Leeds, UK
16.09.2016 – The Lughole, Sheffield, UK
17.09.2016 – Jumpin Jacks, Newcastle, UK
29.09.2016 – Atlas, Aarhus, DK (Tickets)
30.09.2016 – Pumpehuset, Copenhagen, DK (Tickets)
05.11.2016 – Cønjuntø Vacíø Festival, Barcelona, ESP

Watch the video for “Holiday” below:

LIVE REVIEW: John Carpenter, DR Koncerthus, 30.05.16

in Blog/Live Reviews by
John Carpenter performing live at DR Koncerthuset

Photos by James Hjertholm (jameshjertholm.com)

People really love John Carpenter. From those of us huddled high up in the gods (or as Americans call them, the nosebleed seats) to the chosen few with a front-row view, there is a buzz of real anticipation. The lights go down, a band walks on, and the applause begins. Not for the band, though. The applause is for Assault on Precinct 13, The Thing, Escape from New York, Halloween, They Live. I bet a few nostalgics were even applauding The Fog (sorry, not I: even 12 year old me thought that enchanted mist appearing on radar was dumb, no matter how many zombie pirates lurked within it).

And at the center of it, the man himself: the trademark mustache, long white hair, black clothes and playful grin. Not many directors get to bask in such direct, wordless admiration as they revisit what amounts to almost their entire working life. Nor does he shy away it. You get the sense that John Carpenter is sharing his films and music with the enthusiasm of a fan rather than a creator. There is much impish fun to be had in horror, as he demonstrates when the entire band dons matching black sunglasses during their rendition of the theme to They Live.

There is a fundamental question lurking around the concert hall this evening: does the music stand up on its own? The large screen that acts as a backdrop for Carpenter and the band gives you something of a hint: the music is accompanied by clips from his films, but rather than functioning simply as support for the music, the visuals end up dominating attention. During songs from his Lost Themes albums, the screen remains blank, reinforcing the feeling that something is missing.

John Carpenter

Is that such a scathing criticism of Carpenter’s musical output? Or is it instead a testament to how well his music combined with his movies? My own problem with the Lost Themes is that they fundamentally misunderstand the appeal of his soundtracks. Yes, the trademark synth sounds are there, but at least in the live setting, the guitars and drums detract from the alien, inhuman quality that we admire in his earlier work. And when you do add guitar and drums to John Carpenter, you can either sound like Mogwai (great) or like, well, a John Carpenter cover band.

Perhaps the problem is exactly that his music has been so influential. We have seen it transmuted over the years in a variety of interesting ways, to the point that there isn’t much that he himself can add. But at the end of the night, despite some irritation with the guitar playing and the drum levels, the main thought in my head was that I need to watch a lot more of JC’s films.

LIVE REVIEW: Fat White Family, Loppen, 24.05.16

in Blog/Live Reviews by
Fat White Family performing live at Loppen (photo: Morten Aagaard Krogh)

Photos: Morten Aagaard Krogh (mortenkrogh.com)

My ears are still ringing. I am, like most people who go to gigs regularly, terrified by the possibility of chronic tinnitus, but I will say this: if anyone is going to force me to perpetually hear an irritating, high-pitched whine, it might as well be the Fat White Family.

The Family’s fortunes have risen considerably over the past couple of years, with two albums, several collaborations, endless tour dates and a substantial body count of managers and musicians in their wake. It is no secret that they have had more than their fair share of turmoil, but what the music press relishes in depicting as their excess and scandalous behaviour, can be more accurately described as sheer dedication. In spite of injury, anger, arguments and exhaustion, the Family plows mercilessly on.

Fat White Family

From the first menacing bass riff of their latest single, Tinfoil Deathstar, the band appear at home in Loppen. The venue’s size is a great leveler, forcing any act that plays there to stand or fall on their ability to merge with the audience. Frontman Lias Saudi is always up for some sweaty merging, and it isn’t long before the whole band is topless and spitting pieces of their torn lungs into the microphones. Some have observed that their latest album, Songs for Our Mothers, is less sonically abrasive than its predecessor. You’d never have guessed it.

For a band that thrives on unhinged energy, it is the quieter moments that show Fat White Family at their most confrontational. Garden of the Numb sees Saudi and Saul Adamczewski duet a dirge-like country hate anthem. Lines like “You sycophantic weasel-minded whores / You would sell your mother’s cunt to open doors” work all the better because they are quietly growled rather than screamed. Ice-cold hatred is infinitely more terrifying than hot anger.

But the Family isn’t going to end on a downer. No, nothing ends a show like the rockabilly madness of “Bomb Disneyland”. And as Saudi incites the crowd into the sweatiest, filthiest mosh pit, you can’t help but grin at the appropriateness of being in Denmark when a band screams “dirty-bomb Legoland” at you.

INTERVIEW: Ben Harper and the Innocent Criminals

in Blog by
Ben Harper (photo by Morten Aagaard Krogh)

Photos by Morten Aargaard Krogh

Ben Harper never keeps fans waiting long. A quick glance back at just the last five years would reveal three albums, solo and with different collaborators. Which is why fans will know how special it is for Harper to be recording with the Innocent Criminals again for the first time since 2007. The album, Call It What It Is, has the familiarity of Harper’s cross-genre pop, shifting styles from track to track.

While recording for Call It What It Is began in January of 2015, the title track first appeared in Harper’s live set in 2014.

“It was one of the first ones I wrote and said, ‘Oh! Innocent Criminals. Put it away,’” he told us on a visit to Copenhagen in February. “But I couldn’t hold it. ‘I gotta play it. I can’t wait.’”

The song addresses the shootings of unarmed black men by police officers in the United States. “I’ve had enough reaction to it to know it’s a hot button,” he says. “Didn’t know I had so many conservative fans, actually. Oh…I’m singing to them, too. Or they found it, but I’m not really the type of artist you stumble on. Either you know me or you don’t.”

If you know Harper, then you know he isn’t one to shy away from the political. But as he readily explained, Call It What It Is also has plenty of room for lighter pleasures.

Call It What It Is is out 8 April on Stax Records.

Ben Harper (photo by Morten Aagaard Krogh / mortenkrogh.com)

 

How did you end up working with Innocent Criminals again?

Couldn’t wait any longer. We had waited too long already, and it felt like there was a great window in all of our schedules and all of our creative longings and [we were] able to actually do it.

Did the songs come first or the idea to work together?

Songs came first. I had a pile of songs, and then I insisted that those guys bring me songs, because maybe in the past, not only would I not have been on the lookout for it, but maybe I wouldn’t have been open to it at all. And that hopefully represents my growth in a way that this can be a different experience with this band.

So was it a more collaborative album?

I think it’s the most we’ve done. We were starting to be collaborative with records past, but this is by far the most collaborative Innocent Criminal record ever made.

Which songs in particular reflect that collaboration?

This isn’t just a dummy answer: All of them. All the guys are credited as writers on all the songs. But it’s one thing when I write a song, and then they help me produce it and bring it to life. That’s the songs coming from me. The songs that came from outside my own pile of songs are “Deeper and Deeper,” which the guitar player, Michael Ward, brought that to me and he and I finished it; “Finding Our Way,” was brought to me — reggae tune — by Oliver Charles, the drummer and then he and I finished that one; and then “How Dark is Gone” was brought by Jason, the keyboard player and Leon Mobley, the percussionist. That one really caught me off guard. That one might be the most different song, not only on the record, but that I’ve ever recorded.

What was the recording process like?

It was like none other this time. Because when you’re young, you’re barreling through walls. Objectivity is not a word that is inherent in youth. Not for me. You don’t need it, you’re just throwing it out there, you’re making it. And I still would like to think I have that same recklessness, that nature, but at this stage and age, I need distance as clarity, as objectivity, to hear what I’m doing. Doing something and hearing what you’re doing aren’t always looking each other straight in the eye. In other words, what you’re doing, and what you think you’re doing aren’t always the same. And I didn’t want to look back on this record five years later and say, “Oh why didn’t I…”

And maybe everyone says that on every record about little things. But I needed the distance as objectivity. So I recorded for a week, go away for a month, go away for two months, and wouldn’t hear it. We’d work for a week, and we’d disappear. Some bands nowadays, a week means one song. We’re musicians first. The greatest jazz records that you’ve ever [heard] were recorded in a day, two days, three days. When I say we worked six, seven days in the studio, that’s like three-four songs we were making.

Also, musicians have a terrible habit of thinking everything they do is good. Which I’ve grown out of. Go away for two months, come back, press play, and either be incredibly motivated by certain songs, or incredibly disappointed by others, and then start digging deep. And that’s what brought out this record. Which I’m hearing clearly and am very proud of, if you don’t mind me saying that. I don’t usually say that about my own work, but what I’m doing and what I think I’m doing are the same thing.

I understand that there’s a contingent — “Pink Balloon,” “Remember When Sex Was Dirty,” that might not be your thing. I’ve always said, “If you don’t like a Ben Harper song, go to the next one.” But I love rock. I love rock ’n’ roll, I love the liberation, I love the freedom of it, and if you don’t like the story about the little girl and her pink balloon having fun, then that’s on you. If you don’t want to hear something rock, then I can’t help, but I’m not going to not do it because I’m worried about what you’re going to think. Just like I would never want you to worry about what I’m going to think with your artistic output.

Ben Harper (photo by Morten Aagaard Krogh / mortenkrogh.com)

So “Pink Balloon” is about a little girl and her balloon?

Any dad who has a little girl and has tried to take a pink balloon from their kid and tie it to their waist knows what a fight it is just to get it out of her hand.

It was kind of pushed over the finish line by just the Banksy little girl with the pink balloon. It’s so moving, that image. And I said, “How can I get a musical version of that Banksy pink balloon while also thinking about my own daughters?”

Going back to your reflective process, were there any songs that you knew immediately would work?

“Remember When Sex Was Dirty” was like that. Certain songs need to surprise you and scare you. If you’re really clear on what you’ve done, I think art should surprise you as much in the future as it does the first time you see it and hear it. A song needs to pull you in right away so that you can kind of feel, see, and embrace. But a song should challenge the senses, I think, and reveal itself.

With that said, “Goodbye to You” is one of the songs on this record that — it’s just a cacophonous symphony of percussion and weaving melodies in and out. “I don’t like this, I don’t like this, oh! Okay! Now I know where we’re going with this song.” “Goodbye to You” and “How Dark is Gone” are just complete experiments. They dragged us kicking and screaming, they just hovered there, daring us to complete them. And I didn’t give up on them, where some songs you come back to and just know. And those didn’t make the record. The ones that I would come back to and go, “Oh yeah!”: “Sex Was Dirty,” “Pink Balloon,” “Shine,” even “Deeper and Deeper,” there was no question once that was going. “How Dark is Gone” put up a fight. “Finding Our Way,” the reggae tune, put up a fight. “Goodbye to You” we did three other versions, but that one, the cacophonous one, just pulled you through a dark hole. That was the one we finally settled on. So some were willing participants and some really put up a battle.

VIDEO: Gents – ‘Love Is Tears’

in Blog/New Music by

Copenhagen duo Gents (aka Theis Vesterløkke and Niels Fejrskov Juhl) released their debut EP ‘Embrace The Future‘ in December 2015 after putting out singles “Young Again” and “Circles” throughout 2015 which received great praise in Danish media leading them to being named on several “ones to watch” lists for 2016. Their first release for this year comes in the form of a video for catchy anti-love ballad “Love Is Tear” from said EP.

Watch the video for ‘Love Is Tears’ below:

First Hate announce shows and new EP

in Blog/New Music by

First Hate are ready with the long awaited follow up to 2014’s self-titled debut EP. Today (January 14th), it was announced that they’ve signed to Copenhagen label Escho and will release their second EP ‘The Mind Of A Gemini‘ on March 4th 2016. As one of the most hyped acts of 2015 was a busy year for the band touring Europe with Iceage, summer saw them play a number of festivals and they finished off the year with their own European headlining tour. Now they’re back with what has to be one of the most anticipated records of 2016. They’ll be back playing live at the beginning of March playing Lille Vega, Copenhagen (04.03) and Tape, Aarhus (05.03).

Get tickets for the Lille Vega show HERE

The Mind Of A Gemini‘ tracklisting:

  1. Infinite Horizon
  2. Warsawa
  3. The Mind Of A Gemini
  4. White Heron
  5. Trojan Horse
  6. Before

Go to Top