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Viet Cong

Photos of the year 2015

in Blog/Photos by
Father John Misty

Photos by Tom Spray, Morten Aagaard Krogh and Amanda Farah

Every year Here Today’s talented photographers capture a little piece of the magic of live performances around Denmark. As the end of 2015 draws closer we’d like to revisit some of the best pictures to have been featured this year, and ask you to vote for the best. Add your email and one lucky voter will win a print copy of the top voted picture of 2015.

Voting ends at midnight on December the 20th.

 [yop_poll id=”1″ tr_id=””” show_results=”-1″]

Photo by Tom Spray
Deafheaven – Photo by Tom Spray
Photo by Tom Spray
The Tallest Man On Earth – Photo by Tom Spray
Photo by Tom Spray
Run The Jewels – Photo by Tom Spray
Photo by Tom Spray
Foxygen – Photo by Tom Spray
Iceage (Photo by Tom Spray)
Iceage – Photo by Tom Spray

 

Photo by Tom Spray
Paul McCartney – Photo by Tom Spray
Belle and Sebastian. Photo by Amanda Farah
Belle and Sebastian. Photo by Amanda Farah
Viet Cong (Photo by Morten Aagaard Krogh)
Viet Cong – Photo by Morten Aagaard Krogh
St. Vincent (Photo by Morten Aagaard Krogh)
St. Vincent – Photo by Morten Aagaard Krogh
Future Islands - Photo Morten Aagaard Krogh
Future Islands – Photo Morten Aagaard Krogh
Photo by Morten Krogh
Bob Hund – Photo by Morten Aagaard Krogh
Fat White Family photo by Morten Aagaard Krogh
Fat White Family – Photo by Morten Aagaard Krogh
Father John Misty (Photo by Morten Aagaard Krogh)
Father John Misty – Photo by Morten Aagaard Krogh
Ought (photo by Morten Aagaard Krogh)
Ought – Photo by Morten Aagaard Krogh

 

LIVE REVIEW: Viet Cong, Loppen, 12.02.2015

in Live Reviews by
Viet Cong (Photo by Morten Aagaard Krogh)
Photos by Morten Aagaard Krogh & James Hjertholm
Viet Cong’s debut album opens with thundering drums that fade into something less prevalent as the album progresses. Thank goodness that isn’t the case for their live show. The Canadian quartet’s set at Loppen brings out all of the extremes of their album.
Their more precise moments have more of a math rock feel; their frontman’s voice is raw like an open wound; their technical abilities are blatant. You simply can’t fake your way through playing a 12-string guitar. But they aren’t a band built solely on this ability; they have a clear sense of intent. As mesmerizing as their finger work can be, the people behind it –sweaty messes with bad jokes — never disappear.
It takes deeper feeling to transform the extended intro of “March of Progress” into the droning wave it becomes. The synths rattle ever so slightly through the floorboards and a hypnotic drum loop brings a trancelike state to the room. For a few minutes, everything is perfect.
Viet Cong photo by James Hjertholm
But they almost ruin it. The repeated down stroke/rest, down stroke/rest of “Death,” which should indicate the end of a song carries on for what feels like minutes, teasing the way an older brother does a younger sibling without understanding that he’s the only one having fun. It’s a case where not being faithful to the recording might have helped. They do pick up the song again, but it’s a shame to be left after an otherwise energetic set with a feeling of restlessness.
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