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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.

Albums of the year 2014

in Blog by
Swans-To-Be-Kind

Swans – To Be Kind

After thirteen studio albums, Swans have not diluted their power or talent one bit. But somehow, since their rekindling in 2010, they have become more popular. To Be Kind is just as provocative and challenging as Swans’ early material, with half-an-hour-long songs like “Bring the Sun/Touissant Overture” and off-kilter oddities like “A Little God in My Hand”, but the sound and instrumentation has matured, becomings both less distorted and somehow more dissonant. As we witnessed in November, Swans are still a brutally loud and relentless live band, a constant provocation to audience and peers, and much loved because of it. – CC


 møMØ – NoMythologies To Follow

Karen Marie Ørsted is my hero. My braid swinging, ex-punk rocker, stage diving hero. I remember the first time I listened to one of MØ’s tracks, loading up Spotify and finding myself blasting ‘Pilgrim’ and ‘Let The Youth Go Mad’ for hours on end and wondering how one individual could contain quite so much effortless cool. She was the Danish alternative pop princess I’d been waiting for, ready to join a royal court populated by Björk, Kate Bush and Lana Del Rey. I waited for No Mythologies To Follow for over a year, as singles like ‘Glass’ and ‘XXX 88’ trickled out from MØ HQ. I was delighted to find that the debut album did not disappoint, as Ørsted shared something that was exciting, thematic, beautiful and most importantly, sounds fucking fantastic. From the first time I heard it, I knew that No Mythologies… was my album of the year. – HT


WhatIsThisHeartHow To Dress Well – What Is This Heart?

Tom Krell’s third album What Is This Heart touches on lighter subjects than his previous two albums Total Loss (2012) and Love Remains (2010). Not one to shy away from touching personal matters, the album starts off with ‘2 Years On (Shame Dream)’ and leads you softly into a journey that expands an extremely vivid personal dream about his family. ‘Face Again’ the stand out single along with ‘Repeat Pleasure’ work in his signature indie R&B coupled with stunning falsetto which leave you questioning how these tracks aren’t further up the charts. WITH takes a turn with grand orchestral ‘Pour Cyril’ before leading into cute power pop ballads ‘Very Best Friend’ and ‘Precious Love’ proving key changes are making a come back! – TS


 Angel OlsenAngel Olsen – Burn Your Fire For No Witness

The most immediately striking thing about Angel Olsen is her voice, a voice that could easily croon country hits but instead lopes over scruffy, dampened guitars. Her voice alone should earn her and Burn Your Fire for No Witness a place in hearts and best-of lists, but what really makes Burn Your Fire… so special is that it’s wholly intuitive. Olsen’s second full length album is her first with a full band, and it’s the album her debut hinted she was capable of making. She hasn’t abandoned minimalist solo tracks, but she balances them against full-band arrangements. And it’s not just the range of her voice that’s striking but it’s incredible malleability; that it’s raw yet gentle, that it jumps from disaffected to emotive from one line to another, that it rasps and twangs with equal affect. And while she’s not too proud to pay homage to the ‘90s on “Forgiven/Forgotten” and “High and Wild,” these frazzled moments give way easily to stark folk ballads. The album comes down so slowly that by the time you’ve reached the hushed conclusion of “Windows” there’s a sense of catharsis. Burn Your Fire… doesn’t just leave you feeling satisfied, but completed. – AF


 sharon van ettenSharon Van Etten  – Are We There

Somewhere in Tennessee there is apparently an ex-boyfriend of Sharon Van Etten who, during their relationship, kept telling her that her music was terrible. There is a lesson to be learned here.
“Are We There” is one of those records that grows on you. There is something extremely vulnerable and honest about Sharon Van Etten’s song writing and performance on stage. Her voice has depth which is completed by the unique vocal harmonies with Heather Woods Broderick. As Sharon Van Etten told The New York Times when she released her previous album “Tramp”, she does not really consider them harmonies: “I just hear two notes at once — I just hear two melodies.” – MK


6) East India YouthTotal Strife Forever
7) IceagePlowing Into The Fields Of Love
8) Scott Walker and SunnO)))Soused
9) Tune-yardsNikki Nack
10) The War On DrugsLost In A Dream
11) Future IslandsSingles
12) Sleep Party PeopleFloating
13) FKA TwigsLP1
14) EagullsEagulls
15) St. VincentSt. Vincent
16) Alt-JThis Is All Yours
17) Wild BeastsPresent Tense
18) Mac DeMarcoSalad Days
19) Ice Cream CathedralSudden Anatomy
20) Lana Del ReyUltraviolence
21) Get Your GunThe Worrying Kind
22) SpoonThey Want My Soul
23) WarpaintWarpaint
24) Shiny DarklyLittle Earth
25) BeyoncéBeyoncé

Photos of the year 2014

in Photos by
The Rolling Stones (Photo by Morten Aagaard Krogh)

It has been a busy year for Here Today. During 2014 our photographers and journalists covered Roskilde FestivalNorthside FestivalTrailerpark FestivalWasn’t Born To Follow (a mini festival by Smash! Bang! Pow!), as well as over 50 live shows with artists like St. VincentSwansAngel OlsenSharon Van EttenThe War On DrugsMac DemarcoCommunionsFirst HateLower, and many more.

We have put together a selection of the best photos of the year 2014. It has not been easy. Some stood out, though, like the picture below of Perfect Pussy; a picture that captures the raw energy of the show while still being very carefully composed and a perfect example of Henry Cartier Bresson’s concept of the decisive moment.

Perfect Pussy (photo by Morten Aagaard Krogh / mortenkrogh.com)Perfect Pussy | Wasn´t Born To Follow, Pumpehuset, Copenhagen (Photo by Morten Aagaard Krogh)

Another amazing photo is the one of Damon Albarn (by Tom Spray) spitting water at the audience at Roskilde Festival. The crowd, the big empty space and the solitary figure (Damon) at the edge of the stage in a defiant stance; it is a picture with allegorical qualities, one that can make you mind wander.

Damon Albarn (Photo by Tom Spray)

Damon Albarn | Roskilde Festival, Arena Stage (Photo by Tom Spray)

Then there is Morten Aagaard Krogh‘s photograph of the The Rolling Stones (at the top of this post) from when the band played the legendary Orange Stage at Roskilde Festival, a stage that has come to symbolize the festival. The Orange Stage was originally made for The Rolling Stones’s 1976 Summer tour, but in 1978 it was sold to Roskilde Festival. For the first time since 1976 The Rolling Stones where reunited with their old stage. It was also the first time they played Roskilde Festival. James Hjertholm’s photo of Hexis’s leadsinger Filip Andersen is also very powerful and last, but not least, there is a whole gallery of photos (at the bottom of the page) that are equally great.

Hexis (Photo by James Hjertholm)

Hexis | Roskilde Festival, Rising Stage (Photo by James Hjertholm)

See the gallery with Here Today’s photos of the year 2014 below.

The gallery features photos by Morten Aagaard Krogh (mortenkrogh.com), Tom Spray (tom-spray.com), James Hjertholm (jameshjertholm.com), Ivan Boll (ivanrb.dk) and Jonas Bang (jonasbang.com).

All images are copyright of the individual photographers.

LIVE REVIEW: tUnE-yArDs, Vega, 13.11.2014

in Live Reviews by
tUnE-yArDs (Photo by Morten Aagaard Krogh)

Photos by Morten Aagaard Krogh (mortenkrogh.com)

Tune-Yards, as those of us too lazy to keep pressing the shift key refer to them, have reached a level of critical acclaim that might be surprising for a band whose first album was created using a hand-held voice recorder. Frontwoman Merrill Garbus’s lo-fi origins are still evident in her skillful use of loop pedals to create beautifully intricate layers of drums and vocals, and the overwhelming passion that has brought her this far is on clear display tonight.

The enthusiasm with which Tune-Yards are greeted onto Lille Vega’s stage is evidence that this is an audience composed principally of dedicated fans, rather than casual listeners following hype. There are countless reasons for being attracted to this band’s work, from the infectious danceability of tracks like “Sink-O” to the R’n’B melancholy of “Wait for a Minute”, but the true reason to be here is that they are one of the very best live acts around.

tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)

The latest record, nikki nack, replaces the saxophones of Tune-Yards’ sophomore effort with backing vocals, and it is unsurprising that most of the set is comprised of material from the former. Exceptions are “Gangsta”, in which the vocals play a much bigger part than the original saxophones. For all the talent of her backing musicians (particularly evident on the delicately complexity of “Bizness”, in which the backing vocalists manage to recreate the synth line perfectly), it is Garbus’s talent and energy that are centre stage throughout. Her vocals can be soulfully raw or quirky, but they are always arresting.

There are several similarities between Garbus and St Vincent’s Annie Clark. Both are supremely talented women who have managed to recapture a musical energy which has largely been spent in the last 20 years, and twist that energy into something new and unique. But where Annie Clark’s sense of theatricality is predicated on a sense of cold alienation, Garbus is all warmth. Before launching into the encore, she invites questions from the audience, and in return offers the story of the Myspace origins of the strange capitalization of the band’s name.

There bands whose talent is almost off-putting, but in the case of Tune-Yards I would not be surprised if half the audience left wanting to get their hands on a loop pedal, a dictaphone and some drum sticks. I can assure you I did.

tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)

 SEE THE LIVE PHOTO GALLERY HERE

 

PHOTOS: tUnE-yArDs, Lille Vega, 13.11.2014

in Photos by
tUnE-yArDs (Photo by Morten Aagaard Krogh)

Photos by Morten Aagaard Krogh (mortenkrogh.com)

tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)
tUnE-yArDs (Lille Vega, Copenhagen)

Roskilde Festival 2012 | Last years highlights

in Photos by

Jack White (Photo by Tom Spray)

Jack White

Jack White (Photo by Tom Spray)

The Cure

The Cure (Photo by Tom Spray)

Refused

Refused (Photo by Tom Spray)

First Aid Kit

First Aid Kit (Photo by Tom Spray)

Daughter

Daughter (Photo by Tom Spray)

Scenes

Scenes (Photo by Tom Spray)

Wiz Khelifa

Wiz Khalifa (Photo by Tom Spray)

Trash Talk

Trash Talk (Photo by Tom Spray)

ASAP Rocky

A$AP Rocky (Photo by Tom Spray)

Bon Iver

Bon Iver (Photo by Tom Spray)

M83

M83 (Photo by Tom Spray)

Julia Holter

Julia Holter (Photo by Tom Spray)

Yelawolf

Yelawolf (Photo by Tom Spray)

Scenes

Scenes (Photo by Tom Spray)

Celebral Ballzy

Celebral Ballzy (Photo by Tom Spray)

Big K.R.I.T

Big K.R.I.T (Photo by Tom Spray)

Tune Yards

Tune-Yards (Photo by Tom Spray)

Santigold

Santigold (Photo by Tom Spray)

Araab Muzik

Araab Muzik (Photo by Tom Spray)

CPH CoL

CPH Col (Photo by Tom Spray)

The Vaccines

The Vaccines (Photo by Tom Spray)

I Got You On Tape

I Got You On Tape (Photo by Tom Spray)

The Shins

The Shins (Photo by Tom Spray)

Friendly Fires

Friendly Fires (Photo by Tom Spray)

Roskilde Festival 2012 | Day 3

in Photos by

Celebral Ballzy

Celebral Ballzy (Photo by Tom Spray)

 

Julia Holter
Julia Holter (Photo by Tom Spray)

 

First Aid Kit
First Aid Kit (Photo by Tom Spray)

 

Tune Yards
tUnE-yArDs (Photo by Tom Spray)

 

Refused
Refused (Photo by Tom Spray)

 

M83
M83 (Photo by Tom Spray)

 

Bon Iver
Bon Iver (Photo by Tom Spray)

 

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