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Roskilde Festival: Day 2

in Blog/Live Reviews by
St. Vincent (photo by Morten Aagaard Krogh)

Father John Misty (Avalon)

Being the drummer in Fleet Foxes might mean many things, but fun isn’t one that springs to mind. Yet Josh Tillman, performing as Father John Misty, is exactly that: fun. His last album, I Love You, Honeybear, a tongue-in-cheek folk melodrama of heartbreak and vacuity, has cemented his reputation as everyone’s favourite hipster troubadour. He is in fine form at Avalon, despite describing himself as looking like he’s “just crawled out of a coffin”: from bar-room ballads to hillbilly hip-shakers, he moves like a Confederate officer imitating Jarvis Cocker [the sun is frying my brain — ed]The title track has the whole crowd raucously joining in, but it is on the slow, acerbic numbers like “Nothing Good Ever Happens at the Goddamn Thirsty Crow” that Father John really shines. Turning air-quotes into a dance move might  just be the most annoyingly hipster thing one could do, but there is always an undercurrent of genuine anger or joy that elevates it from ironic posturing. — CC 

Photo by Tom Spray
Photo by Tom Spray

 

St Vincent (Arena)

When you can play guitar like Annie Clark and sing like Annie Clark, and have songs with the weird energy St. Vincent has, there aren’t too many more demands to make. So when she does a little shuffle around the stage that makes her look like she’s on a treadmill, or does choreographed dances with her keyboardist/guitarist, or comes out on stage on a stretcher, it’s like extra credit. Clark is a compelling performer and manages to attract attention to herself without a flashy stage show. The crowd moves in a blend of dancing and thrashing.

While projecting stories of the audience’s childhood about starting fires with magnifying glasses and making cardboard wings and jumping off houses in an attempt to fly, she holds her fist over her head like a revolutionary. In what is probably the most inspiring sight of the day, teenage girls emulate her — offsetting her other projection that everyone in the crowd was born before the 21-century. Sorry Annie, I’m pretty sure that’s the one thing you got wrong. — AF

St. Vincent (photo by Morten Aagaard Krogh)
St. Vincent (photo by Morten Aagaard Krogh)

Perfume Genius (Pavilion)

Mike Hadreas wants to be a pop star. Sometimes. He’s in an in between phase of singer-songwriter at his piano and fuzzy synth-pop savant, which explains why his performance occupied an equally gray area. Listening to him play his quiet songs, they don’t lose any intimacy, which is a feat in itself. But you do wonder how he ended up playing a festival of this nature. Part of it is a failure of setting — he really would have benefited from an enclosed space like Gloria. But part of it is also not really knowing how to play to a festival crowd. “Queen,” his biggest single to date, is a brightly colored burst of energy that pulls an elated reaction from the crowd. Coming in at the hour mark of his set, it would have been a perfect way to end things. But he returns to the stage to round things out with more quiet, intimate songs. It’s lovely, but it belongs in a theatre. — AF

Photo by Tom Spray
Photo by Tom Spray

Pharmakon (Gloria)

Dark, doom-leaden industrial artists make music with scary undertones, but it takes a special effort for them to match that feeling of ill will live. Pharmakon, however, is terrifying. She opens her set at Gloria by smashing what appears to be a rock against what appears to be a cookie tray with a mic taped to it. Visually, it’s a bit confusing, but it’s also loud as shit.

Unlike many electronic artists, Pharmakon doesn’t confine herself to the table behind her gear. She sets loops rolling and then stalks about with a mic in hand. There’s an agitation bordering on rage similar to a cage lion projecting from her, and when she jumps into the crowd, in the darkened space, there is a real feeling of being hunted. It is uneasy, and the noise is sometimes violent, but the only disappointment was that her set was so short. I’ll be eagerly awaiting her return to Denmark, but I also wouldn’t want to meet her in a dark alley. — AF

Pharmakon (photo by Morten Aagaard Krogh)
Pharmakon (photo by Morten Aagaard Krogh)

Ought (Pavilion)

On paper, Ought do not appear to be any different from most post-punk inspired indie bands. But on their debut LP, More Than Any Other Day, the band captured a freshness and energy that returns much needed vitality to the genre. In a live setting Ought is even better than on record, reveling in repetition and rhythmical nuance, buoyed along by frontman Tim Darcy’s Mark E. Smith-esque barks [I still say he sounds more like the Violent Femmes’ Gordon Gano — A]. “Pleasant Heart” jolts in and out of an erratic riff reminiscent of certain Tom Waits records, an instant classic of jerky dance song genre, and “Clarity!” lives up to the enthusiastic exclamation mark in its title. In a genre that often revels in confusing, it is exactly the quality of clarity that separates Ought from their peers. Matt May’s effected keyboards, plugged into a guitar amp, are responsible for this shiny, effortless tone that permeates the record, matched perfectly by a simple-but-spot-on rhythm section. — CC

Ought (photo by Morten Aagaard Krogh)
Ought (photo by Morten Aagaard Krogh)

Fat White Family (Pavilion)

Since the release of Champagne Holocaust  in 2013 there has been no band on earth I have wanted to see live more than the Family. Their performances are already semi-legendary in their confrontational excess, earning them the reputation as not the best, but the only rock band left on Earth [Muse’s last-bastion of arena rock performance earlier in the evening suggests that there are, in fact, other rock bands left on earth— A] Emerging out of a self-confessedly awful country band in South London, Fat White Family are a noxious cauldron of primitive garage rock, psychedelia and good ol’ weirdness. They scuttle onto the stage at Pavilion like characters out of an Alex Cox movie, part cowboy junkies, part homicidal hippies. Guitarist Saul Adamczewski seems to be missing even more of his front teeth, which of course only makes him grin and gurn with more enthusiasm, eagerly picking up half-smoked cigarettes thrown onto the stage. Frontman Lias Saoudi finally saunters in with a face like a restraining order, confirming that this evening the band are going to live up to expectations. As the band tear through “Autoneutron”, “Touch the Leather”, “I am Mark E. Smith”, both Lias and the crowd get more riled up, culminating in a series of stage dives and some minor genital manipulation. — CC

Fat White Family (photo by Morten Aagaard Krogh)
Fat White Family (photo by Morten Aagaard Krogh)

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Roskilde Festival: Day 1

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Bob Hund - Roskilde Festival 2015 (photo by Morten Aagaard Krogh)

Photos by Morten Aagaard Krogh (mortenkrogh.com)

The day has finally arrived: the gates to the main festival grounds have opened, the sun is out, Roskilde has begun. The previous days of dolce far niente are replaced with a flurry of questions: which stage to run to, what food to eat (Korean Bulgogi is the official Here Today Food of the Week), how much alcohol do you have to consume before the prices stop feeling like stab wounds?

Off! - Roskilde Festival 2015 (photo by Morten Aagaard Krogh)
Off! – Roskilde Festival 2015 (Photo by Morten Krogh)

Off! — Avalon

After sixty years on the planet and founding not one but two legendary hardcore acts (Black Flag and Circle Jerks), frontman Keith Morris shows no signs of mellowing down. Eyes bulging, veins popping up in unexpected places, Morris stalks the stage in a defiant mood. His younger bandmates bounce along with him, though in their case the wild movements have the studied air of a re-enactment rather than the real thing. The songs themselves, rattled out in blasts of four or five, are one minute playful variations on the theme of fuck you.

While Off! might not be contributing anything new to a genre now almost forty years old, they can at least project some of the vitality of the original movement.

Bob Hund - Roskilde Festival 2015
Bob Hund (Photo by Morten Krogh)

Bob Hund — Avalon

When earlier in the day we interviewed Thomas Öberg, frontman of seminal Swedish indie band Bob Hund, it was clear that there is something very intensely considered and thought out amid the manic energy and comedy of their live performances. Obsessed with making every performance unique, two years ago the band made a leap in the dark and sold all their instruments and equipment, choosing to rely on the generosity of friends and fans to supply them with odd assortments of guitars, vintage organs, microphones, maracas…

For their Roskilde set the equipment was provided by a music school in southern Sweden and Copenhagen surf-rockers The Tremolo Beer Gut. The old Fender Jazzmasters serve them well for the surfy pop vibe of “Tralala Lilla Molntuss”, but it is clear that Thomas was right when he told us “whatever the instruments, we still sound like Bob Hund”. The crowd’s enthusiasm is mirrored in the pure, joyous, Buster Keaton-esque energy of Thomas’s performance. He calls Roskilde “the capital of Scandinavia”, and indeed there is something utopian about hearing a crowd of Danes signing along in a Swedish dialect.

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

The War on Drugs — Arena

Sadly today we only have one reporter on the scene, who can only glimpse the likes of Communions, Young Fathers and Electric Eye as he tramps around from stage to stage like the errant monk of rock journalism that he clearly is. After the sun has finally lowered its burning rays, we settle down at Arena stage for our final gig of the evening, Philadelphia dad-rockers The War on Drugs.

Adam Granduciel is an aloof frontman, bent over his guitar and myriads of effects pedals in intense concentration. His music is all about tonal nuance, but in a live setting this often comes at the cost of dynamism. Other than the enthusiastic baritone saxophonist (an evident attempt to out-Springsteen the Boss himself) the rest of the band is skilled but sedate, rolling through the songs with more professionalism than passion. Even during crowdpleasers like “Under the Pressure” and “Red Eyes” the initial euphoria slowly dissipates into almost monotony. But in after these moments it is thanks to Granduciel’s mastery of guitar tone that a short busting guitar solo can rekindle the fire.

Photo by Tom Spray
The War On Drugs (Photo by Tom Spray)
Photo by Tom Spray
Pharrell Williams (Photo by Tom Spray)

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The Entrepreneurs guide to Roskilde Festival

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The Entrepreneurs at Roskilde Festival

This year’s Roskilde Festival is not a normal one for The Entrepreneurs, an upcoming trio from Copenhagen. They are playing no less than three shows at difference locations during the festival. We caught their blistering set at the Rising stage, and met up with them today to hear what concerts they are most looking forward to at Roskilde.

The Entrepreneurs
The Entrepreneurs live at Roskilde Festival 2015 (The Rising Stage)

Communions – Wednesday, 18.00 | Pavilion

We really like Communions. Coming out of the same scene as Iceage, there is something un-Danish about them, which we appreciate. It’s punk and love, at the same time.

Paul McCartney / Deafheaven – Wednesday, 18.00 | Pavilion

We saw Deafheaven when they played Beta 2300 in Copenhagen last year. It is an amazing band, and if it was not for Paul McCartney, that would be our concert of choice. But we have to see Paul McCartney, we are all fans of The Beatles, and some of McCartney’s songs like The Long Winding Road are among our favorites. Some of us even like what he did with Rihanna, but there is no consensus when it comes to that.

Africa Express, Saturday, 23.00  | Arena

It is simply a fantastic line-up, with artists like Warren Ellis, Damon Albarn and Bo, the guitarist from Mew – and we love Bo, you can write that, both his personality and the way he plays the guitar.

Father John Misty, Thursday, 17.00 | Avalon

He is a true performer, simple as that.

https://youtu.be/bmivOHrkREg

 

VIDEO: Son Lux – You Don’t Know Me

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son lux

We’re big fans of Son Lux and their latest album, Bones, which is why we’re particularly excited to share their latest video for “You Don’t Know Me.”

Part unhappy marriage narrated by a disillusioned wife, part pastel occult ritual, the video for “You Don’t Know Me” offsets the cold distance of the song’s synthetic composition with sharply contrasting lighting. Mixed in is an assortment of imagery from the bizarre (crushing raw eggs in rubber gloves for no discernible reason) to the sublime (that set dressing!), and some things that are just downright humorous (handing out sticks of gum like communion wafers). Its overall effect is a witty balance. And who knew that chiaroscuro and Wes Andersen color palettes went together so well?

Watch the video here:


We had a great time when Ryan Lott and co. packed out Stengade at the beginning of 2014, even if they don’t go for the high drama of their latest short. It’s still a few months away, but considering they sold out their last Copenhagen visit, it’s probably not too early to buy tickets for their November show at Vega.

Roskilde 2015: Our Most Anticipated Acts

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Roskilde 2015 is gearing up, and as half of the population of Copenhagen migrates towards the festival grounds, it’s time for us to share the acts we are most enthusiastically anticipating.

Wednesday

18:00 – Communions (Pavilion)

19:00 – Bob Hund (Avalon)

19:15 – Ratking (Apollo)

23:00 – The War On Drugs (Arena)

Thursday

17:00 – Father John Misty (Avalon)

18:00 – St Vincent (Arena)

20:00 – Perfume Genius (Pavilion)

23:00 – Pharmakon (Gloria)

00:00 – Ought (Pavilion)

02:00 – Fat White Family (Pavilion)

Friday

16:00 – The Tallest Man On Earth (Arena)

18:00 – Kate Tempest (Apollo)

19:30 – Kendrick Lamar (Orange)

20:00 – Einstürzende Neubauten (Avalon)

https://youtu.be/48nakpWpYTI

21:00 – Run The Jewels (Arena)

22:30 – Disclosure (Orange)

Saturday

15:00 – Girl Band (Pavilion)

17:00 – Joanna Gruesome (Pavilion)

20:30 – Chelsea Wolfe (Gloria)
che

22:30 – Deafheaven (Pavilion)

23.00 – Africa Express (Arena)

00:00 – Myrkur (Pavilion)

VIDEO: Metro Cult – Transparent

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A new video is out by the Danish post-punk band Metro Cult. Directed by Johannah Jørgensen the video makes great use of Copenhagen’s architecture transforming the city into a bleak concrete backdrop. Their new EP is out today (May 14th) on Mass Media Records.

AUDIO: Soho Rezanejad – ‘Idolatry’

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Soho Rezanejad former member of Gold Lip and collaborator with Lust For Youth and Kasper Bjørke, has shared her debut single ‘Idolatry’ today (11th May). Generating dark pop anthems with her seductive baritone vocals, Soho explores the sinister areas of electronic-pop. A debut EP is on the horizon with a rough date scheduled of fall 2015.

Listen to ‘Idolatry’ below:

PLAYLIST: Here Today’s Concerts – April

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We have updated our “Here Today Concerts” playlist.

The Twilight Sad (Loppen, 03.04.2015)

The Twilight Sad has just released their fourth studio album, Nobody Wants to Be Here and Nobody Wants to Leave, to raving reviews.  Drowned In Sound wrote:  “The Twilight Sad gave birth to one of the greatest British debut albums in living memory. That was in 2007 and just seven years later they’ve given us an indication that they could attain greatness on a par with MBV or The Jesus and Mary Chain. Hell, carry on like this and we’ll be comparing them with The Cure.” Sounds like a band you want to hear, right?

Eyehategod (Loppen, 07.04.2015)

Wearing earplugs to an Eyehategod show is as effective as wearing a bulletproof vest to a catapult festival. As veteran purveyors of sludge metal, the New Orleans outfit grind out blood-encrusted songs that fall on the exploding end of the noise spectrum. Their music is the sound gravity makes with a limitless supply of anvils and anchors, the spectacle of which will be well worth the price of admission.

Kate Tempest (Vega, 13.04.2015)

The obvious reference point to Kate Tempest debut album Everybody Down is the Streets’ second album, A Grand Don’t Come for Free. It is a conceptual album that tells the story of three characters battling loneliness in the big city, with each song representing a new chapter; a rather ambitious undertaking which the young Londoner gets away with quite well.

Calexico (Amager Bio, 14.04.2015)

Calexico specializes in music of the soul by sunset, a style and attitude inherent to the group’s home in the Mexican-American borderlands of Tucson, Arizona. Combining the warm acoustic arrangements of country and the brassy orchestration of Mexican folk music, they can get big and loud without being unwelcoming. Their forthcoming album Edge of the Sun is set to release on April 14, the day of their show at Amager Bio. If ever there were a time and a place…

White Hills (Loppen, 14.04.2015)

Psychedelic New-Yorkers White Hills haven’t released much material in the last couple of years, but that hasn’t kept them out of the lime-light. An appearance on Only Lovers Left Alive–a scene in which the vampiric Tilda Swinton, Tom Hiddelston and Mia Wasikowska gloomily headbang to the band in a Detroit club–has cemented their reputation as purveyors of far out cool. Loppen is certainly an appropriate venue for a band with the Jim Jarmusch seal of approval.

Grouper (Jazzhouse, 21.04.2015)

Having listened to Ruins, Liz Harris’ latest album as ambient act Grouper, it’s difficult to picture exactly what kind of performance she will put on at Jazzhouse. How do you haunt a stage the way that album haunts the mind? Undoubtedly with the aid of smoke and mirrors. Even if all that means is a bit of dry ice and some mood lighting, the aural component is smoke you can’t blow out, a mirror you can’t turn away from.

Moon Duo (Stengade, 22.04.2015)

If the East Coast psychedelia of White Hills isn’t enough for one month, Moon Duo are coming to Copenhagen to represent the West Coast. On the back of their latest critically-acclaimed album, Shadow of the Sun, the Duo will be kraut-rocking through Europe, leaving behind them a trail of burned rubber and broken speakers.

Colin Stetson (Jazzhouse, 22.04.2015)

Stetson’s New History of Warfare trilogy, recently completed, has gone a long way in redefining the capabilities of the saxophone. Thanks to circular breathing techniques and microphones inserted in strange places, Colin Stetson has turned the usually jaunty sax into an instrument of bleak and violent landscapes. Eerie pulsations and terrifying screeches are the order of the day, and we look forward to experiencing them in Lynchian environment of Jazzhouse.

Screaming Females (Loppen, 28.04.2015)

Actually there is only one female in the New Jersey Punk outfit Screaming Females, Marissa Paternoster. Even though she is tiny, she fills the stage in a way that stops the question “why are they called that then?” popping into your head. Her powerful vibrato and brutal guitar work is hard to match. Their 2012 album Ugly was recorded with Steve Albini and gained praise with publications such as Pitchfork. On their new album Rose Mountain the band explores new territory which results in a more refined sound which holds great promise for the future.

AUDIO: The Soft Moon ‘Deeper’

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Photo by Morten Aagaard Krogh (mortenkrogh.com)

Post-punk on peyote, maybe? Descriping The Soft Moon is not an easy task. Being the brain child of singer-songwriter Luis Vasquez, the synth-based project is minimal, yet challenging. You can now stream the new album ‘Deeper’ at NPR – and make sure to get tickets for their concert at Loppen in May: Soft Moon live at Loppen in Copenhagen on May 20th 2015

INTERVIEW: Jenny Wilson

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Jenny Wilson (photo by Morten Aagaard Krogh)

It’s ten years since Jenny Wilson released her debut album, Love and Youth, and to commemorate the occasion she’s playing the album in full from beginning to end at four dates, including Skuespilhuset on 19 April.

Jenny’s style has shifted significantly in the last ten years, and revisiting Love and Youth means looking back at a different way of playing, and songs that have been missing from her set for years.

We met up with Jenny at Harbo Bar in Nørrebro at the end of January to talk about Love and Youth, her creative process, and what she’s working on now.

Are you looking forward to the anniversary shows?

It’s going to be exciting. It’s strange when ten years suddenly has passed. It was just the other day I actually went back to that album and listened to everything. Because normally I never go back to my albums. I never listen to them. It was actually [my manager] Jessica who suggested — I think it was maybe six months ago — we should do something because it’s ten years, “Oh no, I don’t want to go back to that! Oh no. No, no no no.”

I was getting stressed, “Oh no, now I have to rearrange the songs so they will be more up to date to what I’m doing right now.” Because what I’m doing right now is quite far from what I did back then. But now I’m actually beginning to embrace the old, and I can see that there is a reason to do it as it was back then. The original versions. I’m going to that.

Are there any songs that you haven’t played in a while?

I’ve played I think three songs the last five years from the first album. The rest is something that I haven’t been in contact with for a very long time. But now I listen to the songs and I read the lyrics and I start to remember how to play guitar. I played guitar live when I was touring Love and Youth, and I started playing keyboard and piano with the next album, and now I’m just playing a bit of synthesizer. So now I have to learn to play guitar again.

Do you feel that your relationship to the songs has changed, like a different person wrote them?

Oh yeah. Very much. But what I discovered now when I returned to Love and Youth again is that I think the songs are closer to me now again than they were maybe five years ago. I was pretty scared that I would think the songs to be childish or just stupid. I didn’t find them stupid or childish, actually. It’s definitely another chapter in my life, but I still feel for these songs, I can still sing the lyrics without feeling ashamed.

(Photos by Morton Aagaard Krogh)
(Photos by Morton Aagaard Krogh)

I imagine you wouldn’t feel ashamed about listening to someone else’s record you loved from 10 years ago.

If you’re an artist or a writer or doing anything creative, you need to just proceed and go forward and not look back too much, because if you look back, you won’t make anything new. I mean ten years — pretty much anything can happen in ten years. When I wrote my debut album, I only had one son, now I have two. I was still so much closer to the person I was as a teenager, even if I was at the end of my twenties. But now I’m turning 40 this year, and my first-born son, he’s 13 and he has feet like this [makes hand gesture], and I have one more son, he’s eight, so it’s like, during these ten years, I’ve become a much more — I don’t know how to say it — a much more rich person, both in my private life and also as an artist. I think I have much more insight in life. I’ve been sick twice during these years, had breast cancer, I’ve gone through a lot of stuff that has really shaped me. I think I was much more loose. I was much more of a child still, even if I was an adult.

What was the writing process like for Love and Youth?

It was a lot of trial and error. I had to invent the wheel, because I was sitting in a closet in my apartment and I had to learn everything from scratch. I had a past in a band and we made some records. I’d been through the recording process before, but this time I did it in a completely different way. I learned how to program beats and to record. It wasn’t comfortable. It was far from easy to do it. That was also the challenge in it, that I had to. I had to twist and turn everything to find my own language and my own sound. I really wanted to do something that I hadn’t tried before. I was working very, very fast, just playing around with whatever came up to my mind, because I was so liberated by the feeling of being the only one in charge. I didn’t have to ask anyone for permission to do anything, no democracy here, it was just me. And I really loved that, so I was experimenting a lot.

But with the lyrics, I was much more determined to stick to one subject, stick to a topic, and I was working very hard with getting that universe together. Many songs had other lyrics from the start, but then I changed it, because I saw this theme coming up. I thought it was a very interesting way of working to actually have one subject that you have to dig deep into and you have to describe feelings and and situations from new angles. I really, really love to work like that. That’s the method I have been doing for all my records after that. I always search for a very long time for this subject.

What has changed about how you work?

I’m much more of a professional now. I don’t have to try all the spices, I know that I can stick to salt and pepper. For my last album, Demand the Impossible, I worked very much alone for a year to find my universe and to find the sounds and to find how to produce it. But then I actually worked with two other persons, my drummer and a real sound engineer. I’m not a real sound engineer at all. Which is okay. But I really wanted to do it in another way. Also because of speeding up the process a little bit, because it takes a long time to do everything yourself. It was much more fun, and I think I you can feel that there’s a lot more energy on my last record than the first because it’s a collaboration with other human beings.

I think in many ways my process has been the same in these ten years. I’m a very solitary writer. I don’t want anyone to interrupt me in the beginning because I need to find — I call it “universe” because it’s like I need to create a place. It’s like creating a map where you know all the streets and you know the language and you know all the dangerous parts, you know all the good parts, all the beautiful parts, and that’s what I do when I create a record. I really need to understand my little world. Because when I do understand it, I can write lyrics that come from a completely new angle. And also the music gets more original, I think.

You just put out an album last year, but are you working on anything new?

I have not started to record anything new at all. I’m in this phase where you think that you don’t have any ideas, that you think that you will never, ever do a record again, but I know this phase. I feel completely secure in this phase now because I’ve been through it so many times. This is the first stage of starting to collect material or ideas.

I’m working with Love and Youth, I’m going to rerelease the album on vinyl with a new cover which is a kind of pastiche of the original cover that an amazing Swedish artist has made. I’m working with the shows, I have to get into that old universe again. I’m also writing poetry. I’m trying to make a collection of poetry. We’re going to release Demand the Impossible in the rest of the world now. I’m going to make a video for a new single. I’ve started to direct my own videos, which I really enjoy.

Do you have a very strong visual idea when you’re writing?

Yes I do. That’s part of actually building this world. I started to do this when I worked on my second album, Hardships: I have a file on my computer where I collect a lot of pictures. On the file for Demand the Impossible, I found pictures of graffiti, deserts, things that actually matter to me. Maybe that’s not the images somebody else sees when they hear my music, but it’s still important to have these images.

Do you write music then lyrics?

I begin with searching for something, and that can go on actually for some years in the back of my head. I’m doing other things, but something is happening. Then I start to record stuff. Usually, almost every time, it starts with the beats. Then I make some kind of melody for the voice, but I often don’t have any lyrics. I sing in some strange English, but just so I get the rhythm and then I start to produce and compose the songs. In the very very very end of the process, I write the lyrics. Often when I just play around with words, it’s strange how actually, even if I just sing out of the blue, there’s always several words that I actually stick to because they had something to do with it. I didn’t have a clue when I just sat there and sang but then I could see, “Ah! Okay!” It’s a kind of puzzling.

Do you think the songs from Love and Youth will feature more in future sets?

Probably we will pick some songs in our two-hour sets. But you never know. I’m really looking forward to playing these songs again. They’re really good pop songs, actually.

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