Sad Piano “Final Ears” (Anyines, 2019) – Review by Macon Holt
The debut EP from Sad Piano, “Final Ears”, is a festival of digital delights but after that one drink, line or pill too many. There are moments on this record, particularly on the title track, that sound like the most atrociously cheesy MIDI jingles. But then, seconds later, these jingles are dragged through some kind of digital wood chipper. This both relieves you of the discomfort of the clichés and takes the music to somewhere much more exciting as these instrumental fragments evaporate into sonic sawdust, coalescing as something else, before returning to some kind of recontextualized recognizable music. These are the kind of musical journeys afforded to us now in these post-plunderphonics, post-vaporwave times. Journeys between a world saturated in late-capitalist clichés and the limits that these can be stretched to by the technologies that have made this world possible.
Heathe ”On the Tombstones; The Symbols Engraved” (Wolves and Vibrancy, 2019) – anmeldelse af Daniel Niebuhr
Det sker måske en lille håndfuld gange om året, at jeg for alvor bliver begejstret over en dansk udgivelse. Men det hænder alligevel, at der bare begås dén ene EP eller dét ene album, der i dansk målestok virkelig føles både autentisk og dybt beundringsværdigt – og derudover indeholder stor international appel. ”On the Tombstones; The Symbols Engraved” er sådan en plade.
Mini Esco “Life Force Energy” (Posh Isolation, 2019) – anmeldelse af Alexander Julin Mortensen
Københavnske Mini Esco debuterede tilbage i starten af 2018 med nummeret “Dreamer”, der udkom på opsamlingen “I Could Go Anywhere, But Again I Go With You” via Posh Isolation; et nummer, der satte mine forventninger højt til Mini Esco. Soloprojektet har dog først ladet høre fra sig igen her lidt over et år senere: Nu er Mini Esco nemlig endelig aktuel med sin egen debutudgivelse, minialbummet “Life Force Energy”, der ligeledes er udkommet på Posh Isolation.
The room of Pumpehuset’s main stage is empty. Empty but for two zany lighting technicians playing DJ to a pair of blinking strobes. On the main stage, there is a metal bar holding a tapestry of thin, vertical, clear plastic panels, which hold a keyboard in a tiny enclosure surrounded by LED lamps quaintly behind them. Directly to the right of this shrouded in a blinking and immersive cold blue hue, sits a bed accompanied by a disco ball and a guitar. I nestle into the front of the installation and breathe in the musty air coupled with hour-old smoke after soundcheck and admire the work of the Knife crew in preparation for this first show back in Pumpehuset in over a year. It was a different time then, and yet the same characters line the patio from that previous season enjoying pre-show catering and artist only beer. In a haze, drinking what is left of a Tuborg classic long past its Carbonated best, it’s obvious and nearly joyous that the minds which brought us so many great shows in our city still remain sharp and growing, save for the fact that the show still has to transpire. All those people outside who had beckoned me in to survey the set-up were right. It looks very good. Anticipation starts to sneak in and the first note has not yet stung the room.
It’s a inquisitive and strong line-up for this maiden Knife performance. With ML Buch, CPH stalwarts CTM, Lyra Valenza, Croatian Amor and UK genre wizard sega bodega, there were plenty of reasons to be in attendance. For many mingling in the backstage area, other reasons include the freely poured Gin & Tonics along with other assortments of alcohol and snacks. Wandering out to the downstairs stage hemmed by some outstandingly alien hanging sculptures from the mind of Knife Co-founder Magnus Holger, the first of the night’s crowd sifts in among a warm orange light garden. People mingle and order from the bar and try on merch as the new very cool Knife Performance T-shirts are unveiled. Its already a cozy evening and many friends pass by before the first sounds lull the crowd to silence. Knife is back and it feels to many like coming home.
Billow Observatory “III: Chroma/Contour” (Azure Vista, 2019) – anmeldelse af Anders Bille Petersen
“III: Chroma/Contour” er tredje album fra Billow Observatory, bestående af danske Jonas Munk, som bl.a. kendes fra Causa Sui, Manual samt som manden bag labelet Azure Vista, og amerikanske Jason Kolb, der hovedsageligt spiller guitar i dreampopbandet Auburn Lull.
Som opfølger til “II: Plains/Patterns” fortsætter den transatlantiske duo, hvor den slap i den behagelige, men ikke sorgløse ambient, der har et distinkt melankolsk islæt. Musikken griber ikke forstyrrende ind, men man fortaber sig i den. Det er lyde til den flimrende morgensol.