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Roskilde Festival 2014: Friday 4th July

in Live Reviews by

Photo by Tom Spray

Connan Mockasin

I can’t watch Connan Mockasin without thinking, ‘this guy is creepy as fuck’. Maybe it’s the haircut, or the glasses, or the weird pyjama waistcoat combo, or that smile, but I’m pretty sure it’s mostly because I keep having flashbacks to his video for ‘I’m The Man, That Will Find You’, where he stalks a woman around her house and then when they meet it’s all very uncomfortable, like a 70s soft porn. And although the Pavillion doesn’t have quite the same soft lighting scheme, it’s still an awkward experience to watch him. But at moments, I set my awareness of rape culture to one side, and appreciate the brilliant pop-psychedelia of Connan Mockasin’s echoing, twang guitar and overly vocoded falsetto over the bass on the track, and it’s suddenly a far more pleasureable watch. But it’s also massively repetitive, and combined with the unspeakably hot weather outside the tent, gives everyone a pounding headache. Connan Mockasin manages to compel the audience with his seductive tones, but wholly engaging them is a different prospect.

HT

Connan Mockasin (Photo by Tom Spray)

Photo by Tom Spray

Warpaint

Warpaint are cooler than you will ever be. With baggy t-shirts, pink hair and hotpants, they look like the poster girls for the Coachella look, which combined with their heavy dose of talent and skill, and desire to be sexy in sound and persona, puts them in control of their set like it’s a ball of putty. They pull you into a punch-drunk state of awe with dizzy, whirling melodies and effortless vocals that slip and slide through golden high pitched moments, and low, more brooding vocals. Frontwoman Theresa Wayman asks the Danes to party and clap, then tells her audience and band members that it was “the sexiest clap” she’d ever seen. They then move into the shiveringly good harmonies of ‘Undertow’, shredding on a single note, with the stage lights behind flashing up with a matching velocity. ‘Intro’ from their eponymous, sophomore album is played mid-way through the set rather than at the start, making the music feel continuous rather than disjointed. Wayman then starts making cat claws during the chorus of ‘Love is to Die’, then immediately laughs them off; she’s relaxed, comfortable, effortless, and hypnotisingly beautiful to watch and listen to.

(Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

(Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

HT

 

Haim

Haim are like the big sisters every ten year old girl dreams about, who want to teach you how to play the guitar and the drums and tell you to not care what other people think. Their live drummer plays a low, rumbling line in anticipation before Danielle, Alana and Este run and jump onto the stage like a group of excited puppies (probably a long haired breed. They shake their hair A LOT). After opening with ‘Falling’, the girls move into ‘If I could Change Your Mind’, shredding to the end. They then take a pause to ask permission to jam like they’re at home, as “Roskilde is our home now.” The crowd goes nuts. Este pulls the most fantastic bass faces throughout the set. For reference, see the Jenna Marbles video ‘How To Avoid Talking To People You Don’t Want To Talk To’, add some jerking chicken neck, and you get the idea. Alana ‘Baby’ Haim looks confused, potentially stoned, and when she does open her mouth, has a voice so squeeky it’s hard to decipher what she’s saying. But her skills as she rotates from drums, guitar and keyboard mid-way through tracks suggest that she knows exactly what she’s doing. As the set draws to an end with ‘Let Me Go’, each member bounds over to a large tom-tom and smashes it in time for a drumming trio. The stage explodes with silver confetti, the crowd cheers, and the chirpiest girls in California depart.

Haim (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

Haim (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

Haim (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

HT

Deftones

The only survivors of 90s “nu-metal”, and for good reason, Deftones have something of a split personality: on record they can be dark, introspective, full of subtleties to balance the heaviness of the guitars; live, subtlety goes flying off the stage. Frontman Chino Moreno bounces up and down as if the stage were a trampoline, simultaneously attempting autoerotic asphyxiation with his microphone cord.  This, combined with jaunty banter and Chino’s Beyoncé t-shirt, proves that Deftones have developed an effective, if rather blunt, formula for playing festivals. Songs like “My Own Summer (Shove It)” are made for places like this, full of exaggerated swagger. It might not be enough to fill the field in front of Orange Stage, but with the likes of Haim and Damon Albarn playing at Arena, it is significant.

CC

Deftones (Photo by Tom Spray)

Photo by Tom Spray

Deftones (Photo by Tom Spray)

Photo by Tom Spray

Deftones (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

 

Damon Albarn

There are two Damon Albarns: cheeky Damon and mopey Damon. You see the latter in interviews all the time, looking a bit wistful, a bit troubled, singing songs that largely reflect what Blur said in 1993: modern life is rubbish. I don’t know where that guy was on Friday, but he wasn’t in Denmark. Instead we got Damon the cockney lad, grinning so broadly you could see his gold tooth from half a mile away. Whatever you might think of Damon’s solo record, Everyday Robots, there is very little of that downbeat meditative quality to the set. Arena is jam-packed and Damon & co. are happy to oblige the mood of the crowd with a set that spans Damon’s career almost in its entirety: Blur, Gorillaz, The Good, the Bad and the Queen, even Rocket Juice & the Moon, his collaboration with Flea and Tony Allen.

By the time the band gets to “El Mañana” and “Out of Time”, this is already one of the great Roskilde gigs. Damon drenches photographers with water, discusses the differences between British and Danish princes, tells us of his Danish ancestry, and generally has a good time. But as the encore reveals, he has a few surprises in store. The band launches into “Clint Eastwood” as Damon introduces Kano, the London-based rapper who had a guest spot on Plastic Beach. It’s the moment when the set moves up a notch into proper crowd-pleasing frenzy. As far as I’m concerned, that’s a great closer for the set, but not so. Damon has another set of friends to play with. They’re in a little group called De La Soul, perhaps you’ve heard of them? It’s a moment of genuine surprise and excitement as the newly augmented band launch into “Feel Good Inc.” and from this moment on it is sealed: for today at least, this is the highlight.

CC

Damon Albarn (Photo by Tom Spray)

Photo by Tom Spray

Damon Albarn (Photo by Tom Spray)

Photo by Tom Spray

Damon Albarn (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

Darkside

No one really sees Darkside. Appropriately to their name, the duo spend their entire set in the shadows, only emerging as silhouettes when the lights behind them flare up. Avalon is packed with people awkwardly swaying along to a ten minute simmering overture. I suppose this is the one set that I was most curious about on this day. Having enjoyed their debut’s brooding, low-key menace, full of muted vocals and Chris Rea-style (ask your parents about him, they’ll know) slide guitar, it wasn’t immediately apparent how Nicolas Jaar and Dave Harrington were going to translate this into a festival setting. The answer is by emphasising a very basic, heavy, four-on-the-floor drum beat. The crowd was certainly jumping, but the effect was to turn these wrought soundscapes into dance tracks that bordered at times on the formulaic.

CC

Darkside (Photo by Tom Spray)

Photo by Tom Spray

Darkside (Photo by Tom Spray)

Photo by Tom Spray

Future Islands

Respect to those lucky people who managed to get into the Avalon tent to see Future Islands. Those of us who calmly strolled in fifteen minutes before the beginning were confronted with an ocean of people in the field outside of the tent, trying to peer in. Everyone wants to catch a glimpse of Samuel T. Herring’s already semi-legendary dance moves. If Future Islands are overwhelmed by all this, it certainly doesn’t hinder their playing. Herring invites people to crowd-surf, although we cannot confirm that anyone took him up on the offer. Instead he likes telling us what the songs are about, which would be a mark of awful pretension if it weren’t done with such openness. The great quality of the band is to sound unaffected and completely theatrical at the same time. Songs like “A Dream of You and Me”, “A Song for Our Grandfathers”, “Doves”, are instant synth-pop classics, full of bounce, poise and precision. But if we are going to be honest with each other, it is obvious that most people are at the gig for one song, and one song only. “Seasons (Waiting On You)” is not a fast song, but it comes on like a rush. Herring growls and wails does his dad-dance and mimes the song in sweeping gestures. Though at the back, you had to imagine this more than you could watch it.

CC

Future Islands (Photo by Tom Spray)

Photo by Tom Spray

Darkside (Photo by Tom Spray)

Photo by Tom Spray

Future Islands (Photo by Tom Spray)

Photo by Tom Spray

Future Islands (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

Future Islands (Roskilde Festival 2014)

Photo by Morten Aagaard Krogh

CC = Charlie Cassarino
HT = Helen Thomas

LIVE REVIEW: The War On Drugs, Store Vega, 21.05.2014

in Live Reviews by

Before arriving at Store Vega it’s like the show has already begun. As the sun shines from a clear blue sky, the heat puts you in a snug and dazy mood – the same that vibrates in the universe of The War On Drugs. The tunes on their newest release Lost In The Dream seems to be the perfect soundtrack to the sunny season that is approaching. Being relocated from the smaller stage at Lille Vega to its big brother Store Vega, is a proof that a lot of the Copenhageners feel the same way.

The lights are dimmed as the six piece band walk onstage to the simple rhythms from a drum machine. The band falls into the groove and opens the night with ‘An Ocean Between The Waves’ from the new album. When the song ends its difficult to raise my hands for applause; the room is simply packed to the rafters. The first part of the show consists mostly of songs from the new album with a clear and loud vocal at the forefront. Lead singer Adam Granduciel is known for his way of slipping out of tune from time to time (in a charming way), his performance this night is flawless. And so is the guitar playing – numerous of guitar solos appears here and there through out the concert and at times it is so epic that even the guitar heroes from the 80’s would fall behind.

The band seems to enjoy their spot on the big stage and the energy is evident, especially while performing hit single ‘Red Lights’, colouring the entire stage in a sharp red veil in the process. As a part of a daily ritual Granduciel brings his polaroid camera on stage and takes a photo to immortalise the evening. Although that turned out being a useless act as Granduciel shows the audience the pictures – theres nothing but blurred lines! This little break isn’t the only respite during the concert – guitar tuning and amp adjusting takes up quite some time which at a point makes Granduciel so frustrated that a firm kick sends his amp to the ground. “I’m sorry for my little..eh.. everything’s alright now” he says after finishing the melancholic and slow ‘Suffering’.

The set is a long one, around two hours, which is plenty of time for the band to play a bunch of songs from the previous album Slave Ambient. Particularly ‘Your Love Is Calling My Name’ works strikingly well. The backing band deserves some credit for a tight and well played performance, of which the saxophone player is worth mentioning as the creater of a beautiful soundboard in many songs. But it is not up for discussion that Adam Granduciel is the main figure in The War On Drugs. When the band finishes the last encore and makes a sincere “Thank you!” the room is filled with a warm ambience (partly caused by the high temperature) and I feel a special appetite for taking over the summer with The War On Drugs as my soundtrack.

LIVE REVIEW: Johnny Flynn & The Sussex Wit, Lille Vega, 30.03.2014

in Live Reviews by

Johnny Flynn & The Sussex Wit are not particularly slick, but then again, I don’t think they intend to be. Johnny tunes up on arrival onstage and after almost every track; he plays the occasional dumb note, and his accordion playing ‘Sussex Wit’ sister Lillie loudly asks “Joe” to “turn down the cello”, rather than doing the pointing down routine usually favoured for communication onstage. This, along with the straw blonde hair of the frontman and the amount of enthusiastic arm and hip movement coming from the audience, all gives off something of the village hall/local pub/dress rehearsal feel. That’s not necessarily a bad thing, but it’s neither professional nor dynamic. From the folk band’s opening with ‘The Ghost Of Donahue’, to the awkward encore finish of ‘Eyeless in Holloway’, am I remotely spell bound or in any way captivated by the performance? Nope. Does that matter? To me, yes, but to the hysterical middle aged women beside me (two of many) wailing in approval, absolutely not.

Of course, if you put all that aside, it’s rather a nice show. The folky tracks are feel good and Flynn’s voice is powerful. He proves his talent at multiple levels, not only as a singer, but as he swaps from electric guitar to a trumpet for a chorus riff on the blues infused ‘Howl’. In ‘Barnacled Warship’ he moves effortlessly between violin and vocals. Despite being only around two thirds full, the Lille Vega audience are loud and enthusiastic. The hand clapping is a near constant, giving the gig a cosy, positive vibe.

But after a while, it all gets rather tedious. Flynn’s tracks are repetitive, and there’s nothing that deviates from the typical folk pop formula. There is no experimentation or interesting solo, the melodies all sound the same, and after not too long, I’m seriously struggling to determine one song from the next. The copy cat nature makes them all turn into one long blur of vocals, drum and cello. It’s a 90 minute set with a three track encore, and I’m really starting to fidget after an hour. A spirit deficient gig might work at the pub, but for a group that’s been recording and performing music since 2007, the Johnny Flynn and the Sussex Wit show is seriously lacking in spark. It is, with the best intention, ‘nice’ (boring might be a bit harsh). But then who am I to judge? Looks like the howling female fans are two steps away from taking off their knickers.

Photos of the year 2013

in Blog/Photos by

The Hives

The Hives, Store Vega, Copenhagen, 31.01.2013 (Photo by Tom Spray)

The_Men-9

The Men, Stengade, Copenhagen, 21.03.2013 (Photo by Morten Krogh)

The Soft Moon, Loppen, Copenhagen, 30.03.2013 (Photo by Morten Krogh)

Shout Out Louds, Lille Vega, Copenhagen, 09.04.2013 (Photo by Hilmar Darri Flygenring)

Folkeklubben-3581

Folkeklubben, Pumpehuset, Copenhagen, 25.04.2013 (Photo by Morten Krogh)

Autre Ne Veut

Autre Ne Veut, Rust, Copenhagen, 23.04.2013 (Photo by Tom Spray)

Daughter

Daughter, Lille Vega, Copenhagen, 10.04.2013 (Photo by Tom Spray)

Japandroids

Japandroids, Store Vega, Copenhagen, 03.04.2013 (Photo by Tom Spray)

Jake Bugg

Jake Bugg, Store Vega, Copenhagen, 02.04.2013 (Photo by Tom Spray)

Palma Violets

Palma Violets, BETA, Copenhagen, 31.03.2013 (Photo by Tom Spray)

Schultz and Forever

Schultz and Forever, DR Byen, Copenhagen, 03.03.2013 (Photo by Tom Spray)

Araab Muzik

Araab Muzik, KB3, Copenhagen, 08.03.2013 (Photo by Tom Spray)

Metz

Metz, Ideal Bar, Copenhagen, 04.03.2013 (Photo by Tom Spray)

Crystal Castles

Crystal Castles, Store Vega, Copenhagen, 02.03.2013 (Photo by Tom Spray)

Cody

Cody, Store Vega, 01.03.2013 (Photo by Tom Spray)

Widowspeak

Widowspeak, Loppen, Copenhagen, 08.05.2013 (Photo by Tom Spray)

Øresundsfestival 2013

Øresundsfestival, Malmö, 10.05.2013 (Photo by Tom Spray)

Øresundsfestival 2013

The Eclectic Moniker, Øresundsfestival, Malmö, 10.05.2013 (Photo by James Hjertholm)

Øresundsfestival 2013

Broke, Øresundsfestival, Malmö, 11.05.2013 (Photo by Tom Spray)

Øresundsfestival 2013

MØ, Øresundsfestival, Malmö, 11.05.2013 (Photo by Tom Spray)

Øresundsfestival 2013

Iceage, Øresundsfestival, Malmö, 11.05.2013 (Photo by Tom Spray)

Øresundsfestival 2013

The White Album, Øresundsfestival, Malmö, 11.05.2013 (Photo by James Hjertholm)

Bruce Springsteen

Bruce Springsteen, Parken, Copenhagen, 14.05.2013 (Photo by Tom Spray)

Bring Me The Horizon

Bring Me The Horizon, Amager Bio, Copenhagen, 18.05.2013 (Photo by Tom Spray)

Beach Fossils

Beach Fossils, Stengade, Copenhagen, 21.05.2013 (Photo by Tom Spray)

Nick Cave

Nick Cave, Optimus Primavera Sound, Porto, 31.05.2013 (Photo by Janye Yong)

blur

Blur, Optimus Primavera Sound, Porto, 31.05.2013 (Photo by Janye Yong)

grizzly bear

Grizzly Bear, Optimus Primavera Sound, Porto, 01.06.2013 (Photo by Janye Yong)

A$AP Rocky (Photo by Tom Spray)

A$AP Rocky, Falconer Salen, Copenhagen, 11.06.2013 (Photo by Tom Spray)

Mew (Photo by Tom Spray)

Mew, Store Vega, Copenhagen, 12.06.2013 (Photo by Tom Spray)

The National (Photo by Tom Spray)

The National, Loppen, Copenhagen, 20.06.2013 (Photo by Tom Spray)

Trash Talk (Photo by Tom Spray)

Trash Talk, Store Vega, Copenhagen, 27.06.2013 (Photo by Tom Spray)

Drenge (Photo by Tom Spray)

Drenge, Roskilde Festival, 04.07.2013 (Photo by Tom Spray)

Savages (Photo by Tom Spray)

Savages, Roskilde Festival, 04.07.2013 (Photo by Tom Spray)

Slipknot (Photo by Tom Spray)

Slipknot crowd, Roskilde Festival, 04.07.2013 (Photo by Tom Spray)

Animal Collective (Photo by Tom Spray)

Animal Collective, Roskilde Festival, 04.07.2013 (Photo by Tom Spray)

Metz (Photo by Tom Spray)

Metz, Roskilde Festival, 05.07.2013 (Photo by Tom Spray)

EL-P (Photo by Tom Spray)

EL-P, Roskilde Festival, 05.07.2013 (Photo by Tom Spray)

Iceage (Photo by Tom Spray)

Iceage, Roskilde Festival, 06.07.2013

Action Bronson (Photo by Tom Spray)

Action Bronson, Roskilde Festival, 06.07.2013 (Photo by Tom Spray)

The National (Photo by Tom Spray)

The National, Roskilde Festival, 06.07.2013 (Photo by Tom Spray)

Metallica (Photo by Tom Spray)

Metallica, Roskilde Festival, 06.07.2013 (Photo by Tom Spray)

Sigur Ros (Photo by Tom Spray)

Sigur Ros, Roskilde Festival, 06.07.2013 (Photo by Tom Spray)

James Blake (Photo by Tom Spray)

James Blake, Roskilde Festival, 07.07.2013 (Photo by Tom Spray)

Black Rebel Motorcycle Club (Photo by Tom Spray)

Black Rebel Motorcycle Club, Roskilde Festival, 07.07.2013 (Photo by Tom Spray)

Queens Of The Stone Age (Photo by Tom Spray)

Queens Of The Stone Age, Roskilde Festival, 07.07.2013 (Photo by Tom Spray)

Kraftwerk (Photo by Tom Spray)

Kraftwerk, Roskilde Festival, 07.07.2013 (Photo by Tom Spray)

Kraftwerk (Photo by Tom Spray)

Kraftwerk crowd, Roskilde Festival, 07.07.2013 (Photo by Tom Spray)

John Legend (Photo by Tom Spray)

John Legend, Store Vega, Copenhagen, 16.07.2013 (Photo by Tom Spray)

Sleep Party People (Photo by Tom Spray)

Sleep Party People, Pumpehuset, Copenhagen, 27.07.2013 (Photo by Tom Spray)

The Smashing Pumpkins Photos by Tom Spray (www.tom-spray.com)

The Smashing Pumpkins, Falconer Salen, 31.07.2013 (Photo by Tom Spray)

OFF Festival

OFF Festival, Katowice, Poland (Photo by Tom Spray)

OFF Festival (Photo by Tom Spray)

OFF Festival, Katowice, Poland (Photo by Tom Spray)

AlunaGeorge, OFF Festival (Photo by Tom Spray)

AlunaGeorge, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Cloud Nothing, OFF Festival (Photo by Tom Spray)

Cloud Nothings, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Scenes, OFF Festival (Photo by Tom Spray)

OFF Festival, Katowice, Poland (Photo by Tom Spray)

Julia Holter, OFF Festival (Photo by Tom Spray)

Julia Holter, OFF Festival, Katowice, Poland (Photo by Tom Spray)

The Walkmen, OFF Festival (Photo by Tom Spray)

The Walkmen, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Autre Ne Veut, OFF Festival (Photo by Tom Spray)

Autre Ne Veut, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Japandroids, OFF Festival (Photo by Tom Spray)

Japandroids crowd, OFF Festival, Katowice, Poland (Photo by Tom Spray)

We draw A, OFF Festival (Photo by Tom Spray)

We draw A, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Fucked Up, OFF Festival (Photo by Tom Spray)

Fucked Up, OFF Festival, Katowice, Poland (Photo by Tom Spray)

My Bloody Valentine, OFF Festival (Photo by Tom Spray)

My Bloody Valentine, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Japandroids, OFF Festival (Photo by Tom Spray)

Japandroids, OFF Festival, Katowice, Poland (Photo by Tom Spray)

Godspeed You! Black Emperor Photos by Tom Spray (www.tom-spray.com)

Godspeed You! Black Emperor, Tivoli Concert Hall, Copenhagen, 07.08.2013 (Photo by Tom Spray)

ice_cream_cathedral-8479

Ice Cream Cathedral, Lille Vega, Copenhagen, 07.08.2013 (Photo by Morten Aagaard Krogh)

Haim

Haim, Lille Vega, Copenhagen, 07.08.2013 (Photo by Morten Aagaard Krogh)

Tame Impala - Photo by Tom Spray (www.tom-spray.com)

Tame Impala, Store Vega, Copenhagen, 09.08.2013 (Photo by Tom Spray)

Dirty Beaches - Photo by Tom Spray (www.tom-spray.com)

Dirty Beaches, Copenhagen, 11.08.2013 (Photo by Tom Spray)

Mikal Cronin - Photo by Tom Spray (www.tom-spray.com)

Mikal Cronin, Pumpehuset, Copenhagen, 11.08.2013 (Photo by Tom Spray)

Ducktails - Photo by Tom Spray (www.tom-spray.com)

Ducktails, Pumpehuset, Copenhagen, 11.08.2013 (Photo by Tom Spray)

transmetro-9211

Trans Metro Express, Strøm Festival, 13.08.2013 (Photo by Morten Aagaard Krogh)

haxan cloak

The Haxan Cloak, Cisternerne, Copenhagen, 14.08.2013 (Photo by Morten Aagaard Krogh)

malmo-festival-9366

Ice Cream Cathedral, Malmo Festival, Road Trip, 17.08.2013 (Photo by Morten Aagaard Krogh)

malmo-9862

Baby In Vain, Malmo Festival, Road Trip, 17.08.2013 (Photo by Morten Aagaard Krogh)

byrne-vincent-9963

David Byrne & St Vincent, Falconer Salen, Copenhagen, 22.08.2013 (Photo by Morten Aagaard Krogh)

MS MR Live 1

MS MR, Rust, Copenhagen, 28.08.2013 (Photo by Ivan Boll)

Matthew E. White (Photo by Jen Tse)

Matthew E. White, Store Vega, Copenhagen, 09.09.2013 (Photo by Jen Tse)

APlaceToBuryStrangers-2063

A Place To Bury Strangers, Loppen, Copenhagen, 24.09.2013 (Photo by Morten Aagaard Krogh)

Delorean (Photo by Jen Tse)

Delorean, Lille Vega, Copenhagen, 25.09.2013 (Photo by Jen Tse)

Editors (Photo by Tom Spray)

Editors, Store Vega, Copenhagen, 26.09.2013 (Photo by Tom Spray)

MGMT (Photo by Jen Tse)

MGMT, Store Vega, Copenhagen, 01.10.2013 (Photo by Jen Tse)

James Blake (Photo by James Hjertholm)

James Blake crowd, Falconer Salen, Copenhagen, 06.10.2013 (Photo by James Hjertholm)

Baby In Vain (Photo by Jen Tse)

Baby In Vain, Pumpehuset, Copenhagen, 04.10.2013 (Photo by Jen Tse)

Washed Out - Photo by Tom Spray (www.tom-spray.com)

Washed Out, Lille Vega, Copenhagen, 09.10.2013 (Photo by Tom Spray)

Foals (Photo by Tom Spray)

Foals, Store Vega, Copenhagen, 15.10.2013 (Photo by Tom Spray)

Julianna Barwick (Photo by Tom Spray)

Julianna Barwick, Jazzhouse, Copenhagen, 20.10.2013 (Photo by Tom Spray)

Biffy Clyro by Jen Tse

Biffy Clyro, Den Grå Hal, Copenhagen, 01.11.2013 (Photo by Jen Tse)

national 1

The National, Forum, Copenhagen, 02.11.2013 (Photo by James Hjertholm)

JuliaHolter-5362

Julia Holter, Jazzhouse, Copenhagen, 05.11.2013 (Photo by Morten Aagaard Krogh)

IMG_6180small

Nick Cave and The Bad Seeds, Falconer Salen, Copenhagen, 08.11.2013 (Photo by Jonas Bang)

14. okt 13 80_o

The Woken Trees, UK tour (Photo by Jonas Bang)

Crystal Stilts-7055

Crystal Stilts, Stengade, Copenhagen, 14.11.2013 (Photo by Morten Aagaard Krogh)

fuckbuttonsmulti

Fuck Buttons, Pumpehuset, Copenhagen, 16.11.2013 (Photo by Tom Spray)

Volcano Choir (Photo by Tom Spray)

Volcano Choir, Amager Bio, Copenhagen, 18.11.2013 (Photo by Tom Spray)

Youth Lagoon (Photo by Jen Tse)

Youth Lagoon, Pumpehuset, Copenhagen, 20.11.2013 (Photo by Jen Tse)

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

EL-P and Killer Mike, Lille Vega, Copenhagen, 20.11.2013 (Photo by Tom Spray)

The Tallest Man On Earth (Photo by Tom Spray)

The Tallest Man On Earth, Store Vega, Copenhagen, 21.11.2013 (Photo by Tom Spray)

Get Your Gun (Photo by Jonas Bang)

Get Your Gun, Russia/Estonia tour, fall 2013 (Photo by Jonas Bang)

Trentemøller (Photo by James Hjertholm)

Trentemøller, Store Vega, Copenhagen, 22.11.2013 (Photo by James Hjertholm)

blouse-8593

Blouse, Loppen, Copenhagen, 26.11.2013 (Photo by Morten Aagaard Krogh)

MØ (Photo by James Hjertholm)

MØ, Store Vega, Copenhagen, 28.11.2013 (Photo by James Hjertholm)

Queens Of The Stone Age (Photo Jen Tse)

Queens Of The Stone Age, Forum, Copenhagen, 29.11.2013 (Photo by Jen Tse)

Destroyer (Photo by Ivan Boll)

Destroyer, Jazzhouse, Copenhagen, 03.12.2013 (Photo by Ivan Boll)

Kurt Vile (Photo by Ivan Boll)

Kurt Vile, Store Vega, Copenhagen, 05.12.2013 (Photo by Ivan Boll)

20131213-182524.jpg

Oh Land, Store Vega, Copenhagen, 12.12.2013 (Photo by Ivan Boll)

Cut Copy (Photo by Tom Spray)

Cut Copy, Lille Vega, Copenhagen, 13.12.2013 (Photo by Tom Spray)

INTERVIEW: Scarlet Chives

in Blog/Uncategorized by

Scarlet Chives release their second album, ‘This is Protection’ on Monday. We sat down to talk to lead singer Maria Mortensen, about feeling cosy in a freaky way, a cabin in the Swedish woods, and naked people.

Here Today: So the new album ‘This is Protection’ is about to be released. Excited?

Scarlet Chives: Yes very much. It was very easy to make, but the finishing process has been very long. Now we’re just excited to find out if people like it.

HT: So where did the name of the album come from?

SC: Well the theme of the album is just about admitting that there has to be other people around you, or else nothing’s worth anything. So it’s very simple, but that’s why the album is called ‘This is Protection’, because other people are your protection.

HT: So where did the album start? Was it one particular song or event that triggered it?

SC: Well we’d been playing our old album for a very long time because it came out in Denmark, and then came out in Norway almost a year later. We started touring the old album again after it had been finished for almost two years, so we didn’t really have too much time to make new music. As soon as we got time to see each other again to just write music, people started doing sketches [of songs] for the band, and we just got together and made the album very fast because we had been so excited to make new songs for a very long time. It wasn’t like we wrote one song and it made sense to write songs just like it. We got together, sat down and wrote them.

HT: So I understood from your Facebook that it was written in the Swedish woods?

SC: Yes it was. As I told you, we had a handful of sketches, and all the boys sat down and did sketches by themselves, so they all had little sketches with them when we went to Sweden. We borrowed a cabin in the woods for one week, in Spring last year. I listened to the sketches through my headphones all the way in the car, writing text ideas. As soon as we got to Sweden we installed different studios in different rooms in the cabin and we just started finishing the songs together. This little vacation was all about trying a new sound, playing together, and finding out what we would like to do with the new record. But we didn’t really have to. We just worked with the songs. Separately, actually. All of the boys sat with their own sketches in their own little rooms, and I could go visit them making melodies for all of the sketches. In the evenings we got together and started recording ideas, and actually finishing the album that way. When we got home one week later we had ‘This is Protection’.

HT: So there wasn’t one person in charge? That’s interesting.

SC: No, everybody was bringing something. It was always a dream for us that we could make music that way, but it’s always harder than you think. We would always like to have a little democracy where everybody is just as important as the other. The only way to do that is just to accept that everybody’s bringing something. If you just sit back and listen, or shut up and play… We didn’t have to talk too much. We could just work with each other’s songs and be inspired by the ideas that somebody came with. And that was really cool. We’re all very different, we have different references, we can do different things… I don’t even play any instruments so I just like to respect the ideas of somebody who knows some techniques. That way you can focus on the things you do best. That was how we worked all week because we just wanted to be productive with getting a lot of ideas recorded that we could work on when we got home. So yes, it was very interesting, and we are very happy with the result.

HT: So was the environment important? The Swedish woods…

SC: I don’t think we knew it at the time, but listening to the record I can really hear that it’s cosy in a very freaky way, just being on your own. Even though there were six of us, there were not a lot of people around. It was a very small village, maybe four houses, and of them was ours. In the other cabins there lived men and their dogs, by themselves, just wandering around the house and looking to see what these hippie Danes were doing. They could hear us recording music. It was a very nice experience, but also a bit freaky, and I think that’s also how the record sounds. It’s cosy in a very dark way.

HT: So it’s quite solitary then?

SC: Yes, very much.

HT: Is that one of the themes that comes out in the album?

SC: Yes, I think it is. When I got home and listened to it it kinda freaked me out, and I think that’s when I got the idea that it should be about other people, because I was far away from them. The sound of the record too, is very solitary. Even the very pretty songs, where the vocals are in front, there’s always something very spooky underneath.

HT: So would you say it’s a record to listen to on your own?

SC: Yes. I think it is. I never thought about it, but I think it is, because there are many fragments there, many different stories. I think I get many pictures from it. I think it would be a good idea to listen to it on your own at first, but there are also many easy songs on the record, and songs that you can even dance to.

HT: So it sounds like it was quite an easy process to put it together. Were there any challenges that you faced when you were writing the album?

SC: Yes, a lot. I think the biggest challenge with the album was that it felt like it made itself. We had been very hungry to write music for a very long time. We were six people at the time, and I don’t think it was quite stimulating enough for some of us. We never really got to play that much, because it sounded good before we thought it was finished. We had been looking forward to working together again, the boys had been looking forward to doing all of those nerdy things with all of their effects, recording a hundred different ideas, choosing the best of them. And we never got to that, because we felt it was finished before we felt done working with it. That was a big challenge because it doesn’t really feel fair telling people not to play. So of course we had some discussions about that.

HT: What are the changes from your debut album?

SC: Many. First of all because, like I told you, it was made in a very different way. With the first album we all got together writing songs, even from scratch. The new album is also more diverse as everyone had ideas. It was not like that with the first album. It’s also not as noisy, but I think it’s more dramatic, colder, in a way. And then of course, we have all developed and got new inspiration.

HT: So you’ve released two videos from the new album so far, for “The Timber Will Fall”, and “Some Days Stay”. They’re both quite… striking? Maybe a feminist edge?

SC: Yeah, I guess you could call them that! The first video we released, for “The Timber Will Fall” was made by director Aske Bang. I came up with some of the ideas, but it was his video. I’m not a feminist at all, but we definitely wanted somebody to make a video for us that would work with the boundaries of what is accepted when you make art today. Especially as now things are virtual, and boundaries are not as wide as we were once used to in Denmark. I think that censorship for grown ups was removed in the sixties or something, and then it’s of course very sad for artists today to feel locked to certain rules when they make art, if they want anyone to see it. The video was removed from Facebook and YouTube. That was not at all what we wanted. We didn’t really think it would happen. We didn’t know the rules. We just knew that you didn’t see it that often, now we know why. We hadn’t really looked that much into modern censorship but we wanted to move boundaries for what was acceptable and normal. It was on purpose that we made a controversial video, but it was not my intention to be feminist. I never really saw it that way, I actually saw it like the opposite, mocking women for using their sexuality to get power. We really liked the result though, we thought it was very beautiful. The only thing I talked to Aske about was that I wanted normal naked people. If you want to see normal naked people, and it’s not in porn, it might be in movies, or in an art installation, not trying to reach a wide audience. We just thought that you would like the thought of beautiful, naked, all natural, normal skin, somewhere where everyone’s got access.

HT: Compared with where I come from, England, being so free and liberal about your body seems like quite a Danish thing. Could the video and your art be considered a celebration of that Danish freedom?

SC: Very much. That’s pretty much all it is, actually. I think it takes many years for boundaries to move in what is accepted, and we should be very proud to be in a country where you can just make art and nobody gets insulted. People wouldn’t. They might think it’s interesting, maybe they don’t, but nobody dies from seeing naked people. We all know it’s beautiful.

HT: But then again, you show a much more realistic representation of the female body in your video, compared with, say, the video “Blurred Lines” by Robin Thicke.

SC: Exactly, and I think we live in a time when it is important to remind each other of what is beautiful. We were shocked when we released this video, to find that some people actually find it scary. They’re afraid of looking at naked women, looking all natural. That scares me, quite a bit.

 

Scarlet Chives’ second album ‘This is Protection’ is released Monday 16th in Denmark, and Friday 20th in Sweden and Norway.

 

ARTICLE: Who will headline Roskilde Festival 2014?

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Its almost like talking about Christmas on December 26th but still people are starting to speculate to who will be headlining Roskilde Festival 2014 which is set to take place between 28th June to 6th July. Although its early in the day certain patterns emerge with festivals and heres our list as to who we think is likely to grace the hallowed Orange Stage in 2014.

Arcade Fire

Why?: Three flawless albums and another just around the corner with the release of their forth studio album Reflektor on October 29th. They’re set to go on a worldwide tour in support of Reflektor starting off down under at Big Day Out Festival, come summer they’ll hit the shores of Europe expecting to play some of the largest festivals this fine continent has to offer, what other festival is bigger in Scandinavia than Roskilde Festival?

Last played the festival: 2007 (The year of the flood)

Likelihood of them appearing: Highly

Trentemøller

Why?: Roskilde always try give a diverse mixture of Danish and International headliners and across the rest of the bill for that matter. Hes about to release new album Lost September 23rd. Trentemøller has already announced shows across Europe and North America with his popularity only growing since his last headline show of Roskilde in 2009.

Last played the festival: 2009

Likelihood of them appearing: Almost certain

Rage Against The Machine

Why?: Roskilde’s organisers are friendly people and each year they ask who the public want to see play their festival, each year RATM top that list (or somewhere close), we appreciate that they’re a tough band to book since they only play shows when it suits them. Next July will mark 3 years since they last played live together, however, theres every chance 2014 could be that year with them strongly rumoured to play LA Rising in August, Roskilde and a string of other festival dates in the summer of 2014 could be a nice warm up.

Last played the festival: 1996

Likelihood of them appearing: Slim, but theres every hope

Daft Punk

Why?: After dropping Random Access Memory this year we all expected them to play at least a few festival slots with strong rumours of them appearing at Primavera Sound, Glastonbury and even Roskilde. This unfortunately never happened. And while appearances from them have been minimal this year they made a short appearance at the MTV VMA’s last week and this could work as a snowball effect to have them announce concerts and festivals “around the world” next year.

Last played the festival: 1997

Likelihood of them appearing: Doubtful

Jay-Z or Kanye West (or both together)

Why?: The always active Brooklyn/Chicago rappers both have recently released their own albums Magna Carta Holy Grail/Yeezus (respectively) this year, common trend with these two is that they hit the European circuit a year or so after dropping an album. However both have just had their first children, this could deter them, however they’re entrepreneurs and know the value of touring.

Last played the festival: 2008/2009

Likelihood of them appearing: Fairly good

Eminem

Why?: He just played Reading/Leeds festivals last weekend and he’s about to release Marshall Mathers LP 2, I’m sure he’ll want to play a handful of European shows in support of the album. He’s isn’t as relevant as he was back in 1999 and sure he’s cleaned up his act, but he’s still got a back catalogue of hits worthy of any festival.

Last played the festival: Never

Likelihood of them appearing: Miracles can happen

Mew

Why?: They’re about to release their forth album and again another Danish band worthy of being a headliner. Although what goes against them is that they played Orange stage back in 2012, that wasn’t so long ago but they surely can’t miss out on booking them again.

Last played the festival: 2012

Likelihood of them appearing: Likely….but…..

Blur

Why?: With rumours of new material and them playing most other large festivals across Europe in recent years, 2014 could be the year they make it back to Roskilde Festival, after all Damon Albarn has a long lasting relationship with the festival having played recently with Gorillaz and three times previously with Blur. They performed at SmukFest in 2012 and this year could finally be the year they roll out the hits once more to a 60,000 strong crowd rejoicing to epic sing-a-longs to one of Brit pops finest bands.

Last played the festival: 2003

Likelihood of them appearing: Good chance

Vampire Weekend

Why?: Its sometimes hard to constitute who a headliner is at Roskilde, although they most likely won’t be billed as a headliner theres a good chance if they book Vampire Weekend they’ll make an appearance on the Orange Stage in a similar slot to what The National played at this years festival. The band released their third album Modern Vampires Of The City earlier this year to critical acclaim, their first two albums secured them headlining spots at several high profile festivals across the globe and have now proved themselves worthy headliners. What better music to hear on a Saturday evening as the sun is setting over the Orange Stage than Vampire Weekend?

Last played the festival: 2010

Likelihood of them appearing: High

Wu-Tang Clan

Why?: The Staten Island rap collective played many high profile festivals worldwide this year including their set at Vangaard Festival in Copenhagen. That hyped set has left fans purring for more and will most likely be one of the top 5 bands the fans vote to headline the festival in 2014, after all it will mark 10 years since they last played Roskilde!

Last played the festival: 2004

Likelihood of them appearing: High!

Optimus Primavera Sound 2013 | Day 2

in Photos by

Savages Savages (Photo by Jayne Yong)

Liars

Liars (Photo by Jayne Yong)

daughn gibson

Daughn Gibson (Photo by Jayne Yong)

Explosions In The Sky

Explosions In The Sky (Photo by Jayne Yong)

blur

Blur (Photo by Jayne Yong)

metz1

Metz (Photo by Jayne Yong)

Local Natives

Local Natives (Photo by Jayne Yong)

grizzly bear

Grizzly Bear (Photo by Jayne Yong)

melody's echo chamber

Melody’s Echo Chamber (Photo by Jayne Yong)

Glass candy-3

Glass Candy (Photo by Jayne Yong)

fuck buttons

Fuck Buttons (Photo by Jayne Yong)

juliobash more

Julio Bashmore (Photo by Jayne Yong)

SESSION: Jetsi Kain

in Sessions by

Copenhagen duo Jakob Bøcher Müller and Frederik Gøtzstche first formed Jetsi Kain in early 2012 after returning from Sheffield, UK, where they spent their days in rehearsal rooms writing 60’s inspired beat wave. With early hype through internet presence they soon signed with Tiger Spring Records and released single “I’m In Control” on 25th June 2012. They’ve just released an EP ‘Jetsi Kain EP’ throughTiger Spring. With their sound being described as “….The Beatles, The Beach Boys, Blur and Empire of the Sun, and through that locks on to the energy that have been spreading good vibes in music throughout the last five decades.”

 

CREDITS

Production: Here Today
Sound engineer: Nikolaj Nielsen
Audio mix: Daniel Davidsen

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