Online music magazine based in Copenhagen, Denmark

Tag archive

featured

LIVE REVIEW: Johnny Marr, Store Vega, 19.05.2018

in Live Reviews by
Johnny Marr live at Store Vega Copenhagen

Johnny Marr is one of the greatest guitarists of his generation, but he’s only come into his own as a solo artist in the last few years. His visit to Store Vega, however, suggests that he’s now at home in this role. Half of the set is songs from his forthcoming album, Call the Comet. You can stream a couple of the tracks now, but it’s mostly unavailable.

But Marr knows that you know him from a particular time and place (or maybe from one of the other dozen bands he’s played with in his career), and everyone in the audience seems keen just on being in his presence. They’re excited about the new material, they’re just as happy to rock out to “Easy Money” as any 80s classic.

Marr also has a very low-key personality that lends itself well to what feels more like a promotional exercise than your average tour. He has a few guitar god stances to pull, but seems to quickly become shy about them. He expresses his mixed feelings about streaming as he introduces his latest single, “Hi Hello,” asking the audience to buy it even if it’s only a bit of plastic. There is a jangle to his new songs that brings to mind his work with the Smiths, and an evident but not heavy-handed political bent that jives well with being the guy who told off David Cameron.

And there are unexpected moments such as“Getting Away With It” from his project Electronic. While he seems to reach for the notes that Bernard Sumner hits on his own, the focus on guitar compared with the atmospherics of the album version breathes a new energy into the song.

But in answer to the inevitable question,”Is he playing any Smiths songs?” the answer is yes. They are interspersed from “Big Mouth Strikes Again” as the second song to show closer “There Is A Light That Never Goes Out” (sold to us as the weirdest singalong ever). It’s nice that they’re threaded throughout the set instead of presented as a block or a treat in the encore after listening to Marr’s solo work. And while his is not the voice we associate with the Smiths, he does a pretty good Morrissey impression; his voice takes on a throatier quality for those songs. And after watching Marr mess with his tuning pegs for effect while playing “How Soon Is Now,” there’s no point in ever watching any other performer fumble their way through that song again. So good news for all you Smiths fans who cringe every time Morrissey speaks: We definitely don’t need him anymore.

LIVE REVIEW: US Girls, Hotel Cecil, 06.05.2018

in Live Reviews by
US Girls live at Hotel Cecil in Copenhagen

US Girls’ Meg Remy styles herself as the creative force behind her project than a solo artist. There are no musicians credited on her most recent albums (this year’s In a Poem Unlimited and 2015’s Half Free), but rather producers are credited for building the tracks. So it’s a surprise when she takes the stage at Hotel Cecil that she’s backed by a seven-piece band, including a backing vocalist and a miniature saxophone.

The band is already playing “Velvet 4 Sale” when she and her backing vocalist join them. She jumps straight into the song. With her enormous, multi-piece band, the work translates very well. The references to funk and disco come through very clearly and sound more organic than the records — especially the saxophone — and the band have mastered the live fade out.

Remy never says anything to the audience the entire set, but she’s very present throughout the evening. The performance is full of dramatics, of Remy acting out the gender politics themes of her work, most memorably when her saxophonist menaces her and her backing singer with his tiny saxophone. The lighting choices, however, make it difficult see these details, and I’m not sure how much audience members even a few rows back pick up on. Considering the musical style and the fantastic costuming of the whole band (wide legged trousers, cheetah print jumpsuits, military style jackets), it would be fantastic to see the pageantry played out on a brightly-lit, full disco-style production.

It’s not the most straight forward evening and Remy doesn’t give us any signposts along the way, but she does make an impact. This is definitely a case where the components are all there and it’s only a matter of waiting for the staging to catch up.

LIVE REVIEW: Arto Lindsay and Zs, Alice, 07.04.2018

in Live Reviews by
Arto Lindsay live with Zs at Alice Copenhagen

Whatever fantasies people harbor about New York’s downtown avant garde scene are more or less brought to life in the collaboration between Arto Lindsay and Zs. Lindsay is a legend of the No Wave scene who has used his last couple of solo records to create accessible, bossa nova-inflected indie rock. Zs are the noise jazz collective (performing tonight as a trio featuring Greg Fox on drums) that came up at a time when New York’s music scene was associated with something a little more Strokesy.

The performance feels very in-the-moment and less one band backing an artist or one artist fronting a band. There is less of a focus on traditional song structures and more free moving forms, often dominated by extremely loud guitars — not that we’re complaining. Patrick Higgins’ guitar is fed through so many effects that it no longer resembles guitar at all while Lindsay swipes away at a 12 string that mostly produces crunching sounds. Tenor sax player Sam Hillmer alternately provides incongruous whines that sound like they’re trying to soothe some maniacal beast and being that beat himself, straining and blustering like a banshee. Our opinions of Fox are unchanged from last month.

Zs live with Arto Lindsay at Alice Copenhagen

The main set ends with a deafening cacophony of mid and high frequencies. Lindsay seems impishly pleased with the noise, even as people around us wince. Sometimes the thrill of experimental music — or the inaccessibility of it — is down to basic physical challenges. But the volume is memorable and the composition is memorable, and there is the very distinct impression that this set is a rare and special thing to witness. And even if it’s not rare or the opportunity comes again, it still feels damn special.

LIVE REVIEW: Tune-Yards, Pumpehuset, 29.03.2018

in Live Reviews by
merrill garbus of tune-yards live at pumpehuset in copenhagen

Tune-Yards closed out a six-week tour on the smaller stage at Pumpehuset. The space is packed and the lights are low, and there’s faint aura on the stage from the glow of an uncountable number of pedals.

The energy in the room is good. In part, this is because Merrill Garbus is herself a high-energy performer. She bops and struts, leads her band in sun salutes, raises her arms as if in a rallying cry, and through the low lighting you can occasionally see how wide her eyes are opened and the exaggerated stretch of her facial features. But the energy also refracts back from the audience; the people here not only know Tune-Yards but clearly love Tune-Yards. They are dancing, they are shouting back lines from “Bizness” and “Gangsta.” Much of the set comes from this year’s I Can Feel You Creep Into My Private Life, and they know the songs well.

If …Private Life was a bit down-tempo as a recording, the live set is a swamp of loops and yelps, driven by drums that cut through the electronics with their sheer tangibleness. Garbus makes playing the ukulele look cool, which is an impressive feat in itself, but much of that may have to do with her skill in making a ukulele sound like anything other than a ukulele. She plays her pedals with her feet like a separate instrument, her looped voice tumbling over and colliding with itself, and it doesn’t take long before it becomes difficult to distinguish what is sampled and what is looped.

Garbus’ voice has real power behind it, and she knows how to wield it. She offers a soothing sweetness when her vocals are meant to serve as a backing track and punctuates lines with massive bellows. She does not scream, she does not have to. Whatever she’s projecting — a state of zen or a call to arms — people are dancing, are listening, are ready to follow.

LIVE REVIEW: Shirley Collins and the Lodestar Band, Alice, 25.03.2018

in Live Reviews by
Shirley Collins live at her first ever Danish concert at Kunsthal Charlottenborg for CPH:DOX

There is so much to say and discover about Shirley Collins that it is hard to see where to start. This is a problem that the documentary The Ballad of Shirley Collins needs to battle with, the mountains of material, but it is a problem easily solved by the presence of Shirley herself: warm, funny, and full of love the folk songs she has dedicated her entire life to. This night is a collaboration between CPH Dox and Alice, a double presentation of the film, followed by a concert. It is a strange experience to watch her on a big screen being fawned over by Stewart Lee and David Tibet, and before you know it the film is over and you are running to pee before the show starts and there is Shirley herself by the theatre entrance, beaming.

Accompanied by guitars, fiddle, banjo and shruti box, Shirley and her band work through a selection of material from Lodestar, as well as several of the songs featured in the film, which means that they are all imbued with a familiarity that allows the audience to focus on the details of the arrangements and the lyrics. During “Washed Ashore”, for example, I notice for the first time the detail that when the song’s protagonist finds her dead husband washed up on the sand, she recognises him by “the mark on his hand”. Implying that the rest of him is so bloated and disfigured as to be unrecognisable, which adds a certain dash of gruesome horror to the tenderness of her kissing him.

Shirley delights in these bloody details, particularly in songs like “Cruel Lincoln”, but can just as easily talk about the harsh realities she encountered in the pre-civil rights South. Several of her songs are American folk tunes that manage to surreally remember aspects of British culture long forgotten on the East side of the Atlantic. One of these she asks us to pay careful attention to, as one particular line is hilariously drawn out and requires a certain amount of temporal elasticity to perform. The odd misremembered line adds to the charm, as Shirley still recalls the content of the sections if not the full lyrics, and so amiably blusters a summary of them.

As the evening draws to a close the room is positively humming with goodwill. The complete lack of affectation in the performers, their dedication to music which they lay no claim towards, is incredibly refreshing, and must surely bring about our own private revival.

 

 

LIVE REVIEW: Lolina, Alice, 20.03.2018

in Live Reviews by
Inga Copeland live as Lolina for CPH:DOX at Alice in Copenhagen

Continuing a string of inspired bookings, Alice has brought Lolina–the latest moniker of London-based producer Inga Copeland– to Copenhagen a week after the release of her latest album, The Smoke. Both Copeland’s solo work and her collaborations with Dean Blunt are laced with a confrontational humour, and her latest effort is no exception.

But before we are plunged into the murky depths of Lolina, we spend some time with local producer Astrid Sonne. Accompanied by visuals of an abandoned waterpark somewhere in southern Europe, Sonne’s music mixes abstract electronics–always just on the verge of breaking into dance–with lush romanic stretches of viola playing. There is a curiosity to this, a mix of the cerebral and intuitive, that keeps you glued to the music and the screen.

When Copeland walk on stage in a trilby and pinstripe jacket, it is an indication of the jazz-teasing nightmares she is about to conjure up. The album and set opener, “Roulette”, features two atonally juxtaposed piano arpeggios that fly up and down the scale against each other until they are broken up by the mechanised blues of a bass and organ. “Whatever you’ve got lets light it / Whatever’s in my pocket lets spend it / If nothing left then fuck it…” she chants, as if to herself.

Copeland has a real sense for the uncanny, the way her bass lines lurch rather than groove, her drum sounds calculated to distress. This sounds like criticism but there is real artistry to it. Her only instruments are three digital turntables, a microphone and an effects unit, but she wields these with a light precision that belies the calculated broken quality of her music. Towards the second half of her set it seems she can’t help herself but throw in some of the grime that always lurks just beneath the surface of her work. And a filthy bassline is always welcome.

 

LIVE REVIEW: Greg Fox, Alice, 14.03.2018

in Live Reviews by
Greg Fox live at Alice in Copenhagen

In principle, watching a guy play drums for 45 minutes doesn’t sound like it would make for the most interesting concert. But in this case, the guy is Greg Fox, a drummer you could calibrate your metronome to. We’ve been repeatedly spellbound by Fox’s contributions to Liturgy, Guardian Alien, and Ex Eye, but how would his work hold up as a solo performer?

The premise of his most recent release, September’s Gradual Progression, is that Fox used Sensory Percussion — his kit feeding into modular synths via a MIDI — to create a fully-fledged ambient work. Woven with samples of saxophone and guitar, most of the sounds he’s working with are high pitched and mechanical, but the tenor of the set lacks much of the aggression of the other projects he’s involved with.

It’s difficult to tell if or how the sensors play into his live set; to the casual eye, he could just as easily be playing along to a backing track on the laptop set up next to him. But without other band members to distract or be physically set up in his path, this was the best opportunity to appreciate his skill. Fox seems to enter a trance when he plays — his eyes are rarely open — and it’s difficult not to feel meditative in his presence. If you couldn’t see the sweat flying from his face, it would all look completely effortless.

The intimacy of the evening isn’t underscored until the encore, when Fox returns to the stage to provide more insight into his latest work. Listening to him speak without a mic closes the space in and brings a human side back to the autopilot of his playing. He introduces an “experiment” — possibly to be found on his next album — which triggers a series of bird songs among the drumming. It’s whimsical and weirdly charming and guarantees that we’ll track down whatever he works on next.

LIVE REVIEW: Cindy Wilson, Hotel Cecil, 02.03.2018

in Live Reviews by
Cindy Wilson live at hotel cecil Copenhagen

There is no way to know exactly what to expect from Cindy Wilson’s solo set at Hotel Cecil. The B-52s singer released a debut album under her own name late last year that bears more resemblance to Hope Sandoval than new wave party rock. The show starts early, there’s just enough snow on the ground to delay buses and trains, and it’s our first visit to the new venue.

Hotel Cecil has preserved the feeling of Jazzhouse, though the bar now takes up more space. It’s the same intimate feeling, though, which is particularly good tonight because only about 50 people have shown up for the gig. This is the challenge that Wilson has walked out to, but she is instantly buoyant.

It helps that amongst the small crowd that has assembled are some super fans. They are here for Wilson as a solo artist, they know every word to every song on her new album and it’s preceding EPs, and they do not shout requests for B-52s’ songs.

Cindy Wilson live at hotel cecil Copenhagen

While some of the soft, dreamy vocals of the album make it through, Wilson’s live set is much higher energy. She’s swinging her arms and kicking around, surrounded by a band who grin like they’ve found the best gig in the world. Wilson is manipulating her vocals, twisting knobs, and tacking theremin outros onto almost every song. This feels like the logical place for the woman from the new wave band to be; performing live, it’s clear that Cindy Wilson is still a pop singer, but there is an experimental edge to it. There’s that little bit of weird that endures, that keeps her a safe distance from the blandness that she’s tried to avoid throughout her career, and she’s found it in a way that’s separate from the space and the band that has defined her up to this point.

With all that said, it’s an early night. Everything in Wilson’s solo catalogue only adds up to an hour, and by 21:30 it’s time to go home. Yes that hour was good fun, but maybe an opener on the bill would have fleshed out the evening a bit more.

LIVE REVIEW: Ghostpoet, Vega, 11.02.2018

in Uncategorized by
Ghostpoet live at Lille Vega Copenhagen

It’s been a while since Obaro Ejimiwe, Ghostpoet, has played in Copenhagen, in this very same venue. The crowd, he jokes, has increased since then. A guest appearance with Massive Attack, and the reception for last year’s Dark Days + Canapés, will do that.

Another reason might be that all the opening bands’ schoolmates and parents seem to have showed up, lending the evening the feeling of a local gig, but if Ejimiwe notices the vibe he is too charming to mention it. In general the murkiness  of the material in his last album is contrasted by his open onstage persona, grooving along with the backing band. They open on perhaps the strongest track from Dark Day, the appropriately titled “Many Moods at Midnight”, with a simmering, Bad-Seed-channeling intensity.

Of course in a live settings a lot of the albums’ atmospherics are lost to the room, and Ejimiwe’s rather low-key vocal delivery sometimes struggles to cut through the band, who transpose the material into a decidedly more straight-forward indie rock tonality, all wiry guitars, grungy bass and some pleasant bleeps from a couple of nice Moog and Prophet synths. In this context songs like “X Marks the Spot” start to sound rather more like the Editors that I am comfortable with (the Editors being only the second most boring concert I have ever attended after Chvrches).

LIVE REVIEW: Circuit des Yeux, Alice, 10.02.2018

in Live Reviews by
circuit des yeux live at alice copenhagen

Circuit des Yeux has made reliable, yearly appearances in Denmark for the past few years, so it was appropriate and welcomed that she was the first performer we went out to see at our inaugural visit to the newly-opened Alice. The evening was set from the beginning to be reminiscent of something and somewhere else, seeing an artist who had made multiple visits to Jazzhouse playing in the remodeled Global, and debating whether or not the curtains had been moved from one location to another.

The focus shifted quickly when opener TALsounds took the stage. Her rich and romantic electronic music is built primarily around her voice and some piano being manipulated a dozen times while she hunches over various buttons. It was lovely and relaxed set, and TALsounds’ airy soprano seemed like it would be a polar opposite and perfect counterpart to frontwoman Haley Fohr’s alto.

That might be true of previous versions of Circuit des Yeux that we’ve seen. We were first taken with Fohr’s dramatic vocals when we saw her play a solo set, but Fohr’s voice has continued to develop in bold ways. She has now taken on theatrical, operatic ranges, leaping octaves with staggering control.

This is balanced nicely with Circuit des Yeux now touring as a band. Fohr was accompanied by drums and double bass, and backing musicians in addition to her samples (and some dramatic light projections) has also changed her performance style. Far from being hunched over her guitar with her hair in her face (as we first saw her), there’s a theatrical, almost imposing quality to Fohr’s stances. It was a nice pairing to hear her sing, “the arms ready to catch the fall” with her own arms stretch out in classic Greek theatre-style.

Her development in her comportment also makes Forh’s staccato vocal tricks that much more affecting. The vocal manipulation on its own is impressive, but with Fohr taking full possession of the space around her, the performance takes on an eerie, mystical element. She’s exciting to watch, and it’s exciting to consider what she’ll do next.

Photo by Morten Aagaard Krogh.

1 2 3 23
Go to Top