Femminielli Noir – Medium for hverdagens absurditet (interview)
Af Alexander Julin.
Femminielli har over den senere tid gjort sig bemærket med en længere række LP- og EP-udspil – og som en del af Dirty Beaches liveband. Nu er han atter aktuel i et nyt samarbejde, denne gang med Jesse Osborne-Lanthier, der også går under kunstnernavnet Noir. Dette har resulteret i projektet Femminielli Noir, som inden for den nærmeste fremtid er klar med henholdsvis et kassettebånd, L’Éveil, og en EP, Malas Influencias. I denne anledning har jeg bl.a. spurgt ind til absurditetens rolle i deres musik, de gennemgående tematikker, sprogvalg og udgivelsesformater.
Canadiske Bernadino, som gemmer sig bag karakteren Femminielli (italiensk for mand med kvindelige træk), er født i et spansktalende land, vist nok Puerto Rico, og er siden flyttet til Quebec og Montreal i Canada, hvor han har både har lært sig fransk og engelsk. Jesse Osborne-Lanthier er producer og lydkunstner baseret i Montreal.
P/A: What is your driving force when making music?
B: Really, it’s everything, but lately, especially with Femminielli Noir it stems from a negative output on everyday absurdity.
Would you describe your music as conceptual? Why?
B: Yes, although I’d never planned for it to be…things kind of panned out that way. It’s like, when I’m making music, or art, or whatever you want to call it, the experiences and states I’m living through are transferred to the medium. It’s not as “intellectual” as it may seem, it’s more sensible and primitive; you live through stuff, make peace with it or don’t, and it automatically applies to what you’re doing. The moment becomes the concept.
What role do you think “absurdity” plays in your work?
B: A big part of what I make (lyrically) is absurd, but these are only “stories”, or a way of browsing through philosophies. I’m not trying to convey that I am a parody, a specific caricature, but rather shuffling through thoughts and building a dialogue from different ideas. I’m very interested in the contradiction of words and actions; it’s fun to adhere to different opinions and see where this takes you… it leads to very interesting discussion. Even in interviews, concepts, flirting, relationships, whatever; it’s important for me not to always reveal what I really think, to go with it and see where it takes me. It’s fun and adventurous.
Do you label your music as sincerely serious or do you think that it reflects humour as well? Especially when it comes to sexuality in your works…
B: It’s both. The seriousness and parody are derivatives of the sensual rapport I have to the stories I make up… Sexuality is something you don’t really need to think about, it’s so blatantly imbedded in culture, art, the world, ourselves… Sensuality is more interesting, as it can be more vague and mysterious, very playful and malleable, especially in a creative context. Sexuality is what comes after sensuality, to me it seems more structured and played out, you have more chances of recalling the negativism in it, feeling embarrassed, shame and confusion when thinking about the events afterwards… Sensuality is more fluid, and doesn’t necessarily need to be sexual, it can stay in the romantic domain, it doesn’t need to lead to sex it can take you elsewhere. Læs resten
“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