“Thumbs up to Mother Universe” – An interview with Lonnie Holley
Af Simon Christensen. Fotos: Kendrick Brinson og Elijah Gowin.
Lonnie Holley er en 63-årig amerikansk sangskriver, skulptør og maler fra Birmingham, Alabama. Han kan nok bedst betragtes som en improvisator, der har en stream-of-consciousness tilgang til sine sange, og som kunstner bruger de forhåndenværende remedier, læs: skraldekunst.
Da jeg møder Lonnie Holley under sin koncert i København for nyligt, fortæller han, at jeg ikke skal smide folieomslaget ud fra den vinyl, jeg lige har købt mig, fordi han ville have det med retur. Han er ved at samle ind til en Plastic Man derhjemme, forklarer han. Indtil for nyligt har Lonnie Holley været ret ukendt som musiker. Men inden for et år har han udgivet sine første to albums, “Just Before Music” (2012) og “Keeping A Record Of It” (2013), hvoraf det seneste blandt andet er lavet med hjælp fra Atlanta-musikerne Bradford Cox (Deerhunter/Atlas Sound) og Cole Alexander (Black Lips). Musikken er en blanding af spoken word, soul, sydstatsgospel og det impulsive. Vi lavede et interview. Læs resten
Salon:Pissoir – En platform for expression og explosion (interview)
Af Simon Christensen. På billedet TL-D SUPER80 fra et Salon:Pissoir arrangement.
Et musikmiljø kræver sine spillesteder og arrangører, og én af de mest ideologiske i København er Salon:Pissoir, der står stærkt på at give plads til nye bands og nye steder. De fremhæver en lokal kultur gennem et oplevelsesfilter, der også formidler og udfordrer musikken omkring dem. Vi bringer et mailinterview med initiativtagerne. (Og undskyld. Jeg aner virkeligt ikke, hvordan det her interview pludselig blev på engelsk, red.)
P/A: What is the background for starting Salon:Pissoir – and if any relevance to the subject, who are you?
Madeleine Kate, Salon:Pissoir: “Back in 2010, somewhere in the Copenhagen Meatpacking District, Salon:Pissoir revealed itself as a new monthly club. Established by Madeleine Kate McGowan (Henrys Dream, Club de la Faye) and Daniel Frank Christensen (Radio Saigon), at a time where all the nightclub venues and music scene hangouts we take for granted today, were only just opening up their doors, or didn’t even exist yet. Back in 2010, the Copenhagen scene was ruled by small groups of people and established venues. There was no powerful circulation of expression and live music experiences, the scene was fragmented and kind of boring. Yet there was a sense of something more powerful stirring. It was in the midst of this, that we wanted to start Salon:Pissoir. Something to activate movements, expressions, exchanges, explosions. A place that wasn’t a closed selective inbred community, but a generous space for high quality expression. A place where we could all meet up freely, not dictated by opening hours, noise levels or smoking rules.
We created some dogmas back then, which we still uphold: *strive to have a debut act each time. *shift locations to avoid stagnation. *Love for music not for fashion. *Poetic Revolution!
The Felines, Sink Ships, b r o k e n, The Monoliths and Gutten & Gutten are among some of our debut acts. Since we started, Salon:Pissoir has grown into a beautiful vessel, always carrying a varied set of musical experiences, late night extravaganza and new friendships. We are now joined by the forces of Matthew Møller (Less Win, Sink Ships) and Bjørn Hemmeth Manniche (Red Tape), which has added to the universe a new sense of power and exquisiteness.”
P/A: What are you trying to do, and what is the prime setup at your shows?
S:P: “We have a strong intention behind the whole Salon:Pissoir universe – visual identity, bookings etc. Yet we work very freely and intuitive. It’s a serious playground. The genres we present vary from evening to evening, yet we always have a line-up with three or four acts. We have also ‘commissioned’ musicians by activating new formations cross bands, or inviting artists to do solo acts. Lately Bjørn has initiated a cooperation with the small cinema, Vester Vov Vov, on Vesterbro. This has opened up a new form of concerts, the cinema gigs. Further, we have added poetry readings and performance acts to our arrangements. Some of the poetry presented at Salon:Pissoir, is exhibited on our tumblr: http://salonpissoir.tumblr.com/”
P/A: What does your club try to add to the music scene in CPH, and what do you think is the good/bads things about live scene in Copenhagen right now?
S:P: “The Copenhagen music scene is very vibrant, and there is a confidence in expression and an ability to establish strong music communities. There are so many live concerts, that we get dizzy trying to get to all of them. New bands emerge all the time. The shadow to this though, could be a ‘fashion mentality’. With ‘fashion mentality’ the people of the scene, promoters and clubs, become vampires, metaphorically speaking, feeding on and scouting for the freshest and hippest blood. The competition is high, which is healthy and creates dynamics and circulation, but it can also turn its flip side, and become a cultivator of fragmentations and create a mentality where people who are not ready to ‘loose their cool’ if things get rough.
Salon:Pissoir presents variation and diversity of expression and sound. We focus on quality, but at the same time our stage is also a place for new artists who have never played a live gig before. So the Salon:Pissoir arrangements should be a good mix of established underground bands and at the same time we force people out of their rehearsal spaces.” Læs resten
STARGATE – Superhelt for kirurgisk trance og abstrakt computermusik
Af Tobias Corell. Fotoreportage af Alexander Julin.
Den italienske elektroniske musiker Lorenzi Senni stod for én af sidste års bedste koncerter på Festival of Endless Gratitude med en røgfyldt og skamløs performance udi ny europæisk trance under navnet STARGATE. Senni, der udkommer på prominente selskaber som Editions Mego (solo) og Hundebiss Records som STARGATE, har gode forbindelser til København og vender allerede tilbage i 2013 på Sejerø. Sammen med vennerne på det italienske Hundebiss Records har Lorenzi Senni og labelets grundlægger, Simone Trabucchi, været primus motor for selskabets helt særegne retning ud i tomrummet mellem elektronisk, hypnagogisk og avantgarde-musik med blandt andet masser af synthesizere. Musikken er milevidt fra den danske alkohol-snøvlende virkelighed, men stadig berusende effektfuld.
How is the music scene in Milan right now? Do you get to experience it, or are you recording and travelling all the time?
Lorenzo Senni: “Milan is cool right now, I’m very happy. We are a group of people doing stuff together. We play shows, organize events, have recording sessions and hang out. I think it’s a perfect scenario to create nice stuff. We also used to perform together (in one night, not in the same time) as CB21. Cesare Balbo 21 is the address of my house in Milan; it’s like the headquarters.”
2012 was a great year for you, getting a lot of recognition and critical acclaim for both Hexplore Superﬂuidity (Stargate 12”, Hundebiss) and Quantum Jelly (Lorenzo Senni, Editions Mego). Do you have any solo-releases planned for 2013?
“Yes, but I can only mention this ART EDITION (LP + DVD 5.1 Surround) which I’m ﬁnishing. More soon – sorry, I’m very superstitious.”
You have an impressive roster on your own label, Presto!? Records. Are you ﬁnding it difﬁcult to be a busy musician and managing your label at the same time?
“Presto!? turns 5 years old this summer, and I’m very happy about everything, but from September I want to develop it into something new that I have in mind which hasn’t been possible to realize until now. I need the summer to arrange things and prepare the bomb and then drop it in autumn 2013. Be ready…still radical. But yes, it is becoming difﬁcult to take 100% care of the label. I had to delay releases and so on. I don’t like to since, as an artist, I know what it means to have your record delayed. Unfortunately, I can’t pay my rent with Presto!?, so I have to give priority to concerts. My girlfriend, Valentina, is a graphic designer, so I hope she can design all the next releases. That would be a big help.”
Last time we spoke was at CTM-festival in Berlin back in February. At one point you took off your Stargate jacket and said something like “Now I’m not Stargate – I’m just Lorenzo.” What are the differences between how you approach your Lorenzo Senni recordings and your Stargate recordings?
“Organs of my body: Stargate is the heart; Lorenzo Senni is the brain and the balls together.”
Peter Brötzmann – missing some passion and a political discussion
Af Simon Christensen. Foto: Niklas Adrian Vindelev.
Den europæiske freejazz’ førsteelsker. Den tyske jernlunge fra Wuppertal og manden bag “Machine Gun”, Peter Brötzmann, er en hyppig dansk gæst og har også spillet med flere danske musikere. Med tiden nyder den nu 72-årige saxofonist anerkendelse ikke bare for sin betydning for freejazzen i Europa (contra den amerikanske skole) dengang, men også i dag hvor han fortsat er med til at tegne jazzscenen med såvel romantiske som brutale brøl gennem instrumentet.
P/A: What do you cherish about your collaborations with The Wild Man’s Band (Peter Friis and P.O. Jørgens)?
P/B: Beside all the musical abilities those two gentlemen have to offer over the years we developed a kind of distanced friendship which is rare in our field of music.
P/A: You have played in all kinds of formats of course, but what do you think about the duo-format with fx Paal Nilssen-Love, Nasheet Waits, Han Bennink?
P/B: Drums are the soul. The guts of the music, the drummer always was and still is the most important guy in the band, means – I often don’t need somebody else. It gives you all the freedom you need , it forces you to be concentrated every second and you have to put whatever you have into the conversation/fight. Læs resten
House of Hayduk to release “City Of Quartz”
Danish producer and film composer Mads Heldtberg, once a guitarist of frenetic Danish crypto-metal outfit Düreforsög, who opened Orange Stage at Roskilde Festival back in 1997 and signed to Faith No More-bass player Billy Gould’s label Koolarrow in 2000, returns with an instrumental album called “City Of Quartz” that was four years in the making. “The title derives from the Mike Davis book on architecture, urbanism and power of Los Angeles. On an abstract level it makes complete sense, to me at least. It was a wicked process that I connect to my moving to Los Angeles.”
Hooray For Earth mixtape for Denmark
by noel heroux of hooray for earth, newyork
It’s no secret that us and our friends have all fallen hard for Denmark in the past few years…for me it started with the accidental acquisition of “…And The Glass Handed Kites” (by Mew, ed.) in 2005, then later discovering Oh No Ono in 2009. At that point it seemed to me that I’d found a place where like-minded musicians were just totally letting loose and creating all this majestic, fantastical music. This mix here is just kind of a journey riding along that sort of feeling – some tracks related, some random (some obviously of Danish descent). This is a clunky mix I guess but it’s just all about the magic in each of the songs.
The start and end tracks were both sent to me by Malthe Fischer a couple years ago when he was giving us a bit of education on Danish classics (hope I got the titles right). Thanks to Nis Svoldgård for the Gangway introduction. Also please excuse the poor quality of that old Thulebasen track, I think it was downloaded from MySpace. Læs resten
Hør Thurston Moores artist talk og musik af Chelsea Light Moving
“I don’t want to be some kind of solo-artist who is ex- a band like Sonic Youth. It seemed kind of boring to me. I just don’t wanted to come to a new town and be Thurston Moore, ex-Sonic Youth, I liked the idea of having a band, of being a band, that had a title or some kind of aesthethic. I always thought of bands as gangs coming into town and playing shows in the middle of the night.”
Mandag den 6. august gav Thurston Moore koncert i København, og i den forbindelse deltog han i en artist talk på Københavns Hovedbibliotek i samtale med Lars Movin. Her taler de blandt andet om forskellen på Thurston Moores seneste soloalbum “Demolished Thoughts” og hans band Chelsea Light Moving, inspirationskilder til William S. Bourroughs og Roky Ericksson, og om fluxusbevægelsen og musikalske eksperimenter i New York i 70’erne og 80’erne, fx. Suicide og CBGB. Læs resten