Dedekind Cut – Ruly ambiance (live report)
Review by Ivna Franic, Dedekind Cut @ Mayhem, 8.11.2017.
With one of 2016’s finest albums, an excellent recent EP, two great mixtapes and a record deal with Kranky under his belt, Dedekind Cut was easily one of the most significant names to have played in Copenhagen this concert season.
A packed venue on a regular weekday testified to that, the fixed up Mayhem also proving to be a near-perfect setting for Dedekind Cut’s absorbing ritual.
Red candles and the lack of reflector lights set the mood for an intimate evening not quite as ominous as it might have appeared at first, yet not necessarily gentle either. Dedekind Cut, real name Fred Warmsley, starts the set off with a wash of ambiance that doesn’t lead to a potentially expected outburst of noise. Instead, more abrasive parts appear as razor sharp cuts through the ambient (as well as the literal, fog machine generated) haze. Læs resten
Aaron Dilloway – Residential tape experiments (premiere)
By Simon Christensen
I can’t remember a time in Copenhagen with the music scene being as diverse and inspiring as this. Not only are there plenty of interesting local artists, but the number of great musicians and pioneers who have been visiting, recording or setup new projects in Copenhagen in recent years is at an all time high. I am not only talking about Brian Eno, Laurie Anderson and Thurston Moore, but also underground heroes like John Fell Ryan, Dean Blunt, Okkyung Lee, Senyawa, Greg Fox, Roscoe Mitchell, Tyshawn Sorey, and Robert Turman have had residencies and made friends here.
The noise veteran Aaron Dilloway is the latest example, as he joins the Cejero label family with his new LP “Switches”. Læs resten
Phono17_Encourage – Clear sight through the largely unexplored
Reportage by Ivna Franic. Photos by Daniel Hjorth and Cameron Pagett.
The latest edition of Phono Festival brought quite a few exciting names from the international electronic and experimental music scene to Odense this past October. Although the festival theme “Encourage” might have hinted at a more cutting edge and/or politically charged sound than the one ultimately presented at the festival, there were more than enough of rewarding performances that embodied the festival concept themselves.
Phono17 definitely gets things right when it comes to the using of space: the cold industrial feel of Kunsthal Ulys’ large concrete hall remains intact, but thanks to the excellent setup of the down-sized stage and a smart floorplan, the venue is at the same time cozy enough to endure three consecutive days spent there. The club venue is well hidden and less compelling, but provides a decent backdrop for post-festival hanging out and mingling. Læs resten
Roaring Abstraction – An Introduction To Basil Kirchin
By Jim Slade
Impossible to categorize or pigeonhole, Basil Kirchin (1927-2005), the elusive polymath of Britain’s musical history, left a rich legacy of melodic titbits that branches out across genre and context. Motivated by the recently released ”Basil Kirchin Is My Friend” record and following a spate of concerts, radio programmes and articles, there is new found attention garnering on this British composer. Who is this bushy bearded fellow who throughout a lifelong musical career played drums in the country’s busiest touring Big Band of the postwar era before morphing into the composer du jour of the best cult film soundtracks of the 1960’s? Balancing commercial success with experimental work, he seamlessly blended tape loops with the frenzied playing of free jazz too and yet, as his back catalogue would attest, Basil Kirchin has a sonic signature that is utterly unique. Læs resten
Hector Rottweiler (Jonas Olesen) – Unpredictable folds and aleatoric instability
Hector Rottweiler “Infrastruktur” (BIN, 2017) – reviewed by Javier Orozco.
Jonas Olesen is the musical mind behind a series of projects (BIN, Batch Totem, IR, OOC) that gradually positioned him as a discreet underground noise pioneer in Denmark, known especially for his work with modified instruments and an archaeological approach to sound art. For the Infrastruktur EP he resuscitated his Hector Rottweiler alias; a nod to the influential thinker Theodor W. Adorno, who published a number of his writings on jazz under the pen name Hektor Rottweiler.
In this four song 12”-vinyl, which released in July as a limited edition of 150 copies, Olesen has taken distance from the conceptual dogmas that guided his previous and arguably more noisier works as Hector Rottweiler (e.g. his BLOK I & II cd-r), where he intended to create “extremely primitive robot-like music”. However, what Infrastruktur retains from the Rottweiler works is a commitment to sonic exploration through the exclusive use of hardware. None of the sounds presented were created or treated with software, the only computer involved was solely used for recording. Læs resten
DJ Sports – A new species in dance music
DJ Sports “Modern Species” (Firecracker Recordings, 2017) – review by Morten Løwenstein
When diving into DJ Sports and his back catalogue, you automatically dive into the world of Regelbau. My first intention was not to include any intro to the Aarhus-based collective. However, the background is of great significance in this case. With a crew tally of no less than 11, Regelbau’s members have put Denmark and Aarhus on the dance music map, while simultaneously developing their own unique and confident approach to dance music – or all music – and to the scene itself.
The much-deserved hype of the Regelbau crew has grown in a rarely seen organic way, and the fact that the crew is built on a strong foundation of friendship and common musical interests is clear. Læs resten
Greg Fox – Free form drummer ventures forth with Gradual Progression (interview)
Interview by Simon Christensen.
The recent solo efforts mark “the end of the beginning” for musician and improvisor Greg Fox. Although still partly recognized as a metal drummer from the hard-hitting band Liturgy, he is influenced even more so by free jazz, computers and sound itself. Greg Fox has been involved in an exciting series of projects ranging from electronic music with Hieroglyphic Being and Ben Frost, experimentalists like Zs, Kid Millions and Colin Stetson (as part of Ex Eye and Sorrow), and as well as playing with Marshall Allen and Milford Graves. The latter, who he considers his mentor, inspired the recording of the truly drawing solo LP Mitral Transmission from 2014, which was made as a purely digital concept.
Even though his ambitious new solo album The Gradual Progression isn’t his debut as main composer after several releases as Greg Fox, GDFX and Guardian Alien, he is standing on a threshold to a new territory, Greg Fox explains on a phone line from his native New York to Passive/Aggressive in this interview. Læs resten