Nyt ZINE om K-Town
Af Simon Christensen
Et nyt fanzine er på gaden i denne uge. “Living In The City” er lavet af Alexander Sjöberg, det er superflot sat op i den klassiske zine stil, og der er så vidt vides allerede planlagt en vol. 2. Zinet indeholder spillestedsoversigt, show-kalender, interviews med Byens Radio, Tumor Warlord, Commie Cowboys og Brudte Løfter + diverse fastfood news, anmeldelser og billedreportager.
“Hello dear reader, and welcome to the very first issue of LIVING IN THE CITY, a zine born out of the Copenhagen aka the K-Town punk- and hardcore Læs resten
In the memory of Murat Üf Yaa (1983-2013)
Af Ralf Christensen
The great musician, artist, activist and our dearest friend Murat Ali Can aka Murat Üf Yaa died of cancer on Friday the 13th of December. It took 40 days from the diagnosis until his mind-numbingly early death. All his many friends and a little family buried him on Saturday the 14th at a cemetery outside Izmir in the same grave as his mother. It’s full of sunlight in the afternoon and the evening. He will be and is already being missed like crazy.
Murat came to Copenhagen in April 2013 and did three solo shows at Global with T.R. Kirstein/S.B. Nielsen, at Frosen Fisk at Vesterbro and at that great night in Henning Young (with Af Med Hovedet). At this point he was a big part of the alternative Turkish music scene and he went to Denmark for a brief period before facing 15 months of military service back in Turkey. Læs resten
WANDA GROUP – “IT IS WHAT IT IS AT THE TIME THAT IT IS”
Af Andreas Syr
The music of Brighton based musician and artist Louis Johnstone is not easily grasped and held on to. Especially not in words. As WANDA GROUP he has released a barrage of damaged ambient music on labels such as Opal Tapes, Vlek and, most recently, NNA Tapes which has just released his latest record, the ominously titled “A Slab About Being Held Captive”. The disembodied drones, fragmented beats and hissing, crackling field recordings that Johnstone assembles into murky collages, has made people compare him to everything from Iannis Xenakis to The Caretaker, but as this interview clearly shows, WANDA GROUP is a musical entity entirely of its own making.
The new mix “A GANG NOT WORTH SHIT” that he’s created for Passive/Aggressive (which is really not so much a mix as a completely new composition) perfectly showcases the strange romance of his noisy assemblages: The harsh and melancholic edifices of found and manipulated sounds that WANDA GROUP erects are both alien and strangely familiar, like half-remembered dreams – and it is in the thousand cracks and fissures between the parts that the world and human experience seeps through and lights them in a soft, organic glow. We also asked him a couple of questions about his work, life and artistic practice, which it turned out was hard to distinguish from one another… Læs resten
Thulebasen Solhvervsmix 2013
Af Simon Christensen. Foto Martha Hviid.
According to tradition Thulebasen is back this December with the Winter Solstice Mix (da. Solhvervsmixtape) for Passive/Aggressive. The tracklist was once again lost in the mail, but the music is by guarentee carefully compiled by Nis Bysted. So open your ears and heart for this instead of skipping through to the singles. It’s suitable for kitchen work or any repetative manual labour at your home.
The music is all Danish rarities related to Thulebasen people, mostly demos and unreleased tracks, featuring acts like Ordkløver, Marie Eline Moko, Kim Las, Düreforsög, Lamburg Tony, Kloak, The Bleeder Group, Menthol, Thulebasen and many more. Læs resten
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