Dave Bixby – ’Ode to Quetzalcoatl’ og kvintessensen af loner folk-genren
Af Mads Peder Lau Pedersen
Der er forholdsvis få udgivelser, der rammer samme følelse af trøstesløshed som Dave Bixbys eneste soloalbum ’Ode to Quetzalcoatl’ fra 1969. Albummet bæres af en fjern og reverb-tåget vokal sparsomt akkompagneret af guitar i en nærmest nøgen produktion, og det er stort set det. Det er nærmest kvintessensen af loner folk-genren. Melodierne er sært fængende, mens Bixby lyder som en introvert og apatisk profet, der har givet op for længe siden. Fornemmelsen af undergang gennemsyrer albummet; bare på åbningsnummeret ’Drug Song’ lykkes det for Bixby at udtrykke mere lidelse på 3 minutter og 20 sekunder, end de fleste musikere lykkes med gennem en hel karriere. Selv når teksterne forsøger at udtrykke en optimisme, opdager man det næsten ikke. Læs resten
Sonny – Cozy house infused with the “Scando” sound (interview & mixtape)
Interview by Alexander Julin
Australian Xavier Bacash made his debut last year with an EP called “C.E” on the Danish label Koldt Bord. “C.E” was an enormously organic release which differed from the majority of contemporary electronic music in Denmark due to its incorporation of jazz-elements. On his subsequent release, the EP “Plastic Worlds”, the elements of electronic jazz have been abandoned in favor of a purer house style, which nonetheless still shares several features with his former EP. Following the release of “Plastic Worlds”, P/A has interviewed Bacash about his releases and future plans, and he has made us an accompanying mix, illustrating some of his sources of inspiration. Læs resten
Lost Lands Festival 2018 – Partying and experimenting with the apocalyptic hippies (live report)
Lost Lands Festival, Copenhagen, August 17-18 – review by Wieland Rambke, photos: Cameron Pagett
For its third installment this year, Lost Lands seized the grounds of a small space on Copenhagen’s Refshaleøen and transformed it into a magical clearing. Approaching the festival a day before it started, the first thing I saw was the shape of a rusty boat hall, lying in the landscape like an enormous metal bug. It turned out to be the indoor stage, where half of the concerts where held.
Outside again, I came upon a yard framed and dominated by fresh, solid wood work. This, I learned, was the outdoor stage and bar area. Set between decaying industrial architecture and natural overgrowth, this spot on Refshaleøen became a fitting place for a festival that seeks to combine bold, decidedly left-field and challenging electronic music from a multitude of genre directions. Noise, ambient, hardcore techno, synth-pop: All these attributions dissolved and became irrelevant. Both in the concerts of many individual artists, as well as their combination as a whole. The whole point of the festival is not to cater to a specific field or genre, but to provide a place for those with a love/passion/obsession for unusual and daring music. This element, common to the artists, the audience and the organizers, made for two days of ever-surprising concerts. Læs resten
Lost Lands Festival 2018 – Photo reportage
Lost Lands Festival 2018 at Refshaleøen feat. Torus, Yuri, Third Wife & Ernest, Loft, Shattered Form, Céci, Roly Porter, Kowton, Soho Rezanejad, Niki Istrefi, Miro, E-Saggali a.o. Photos by Cameron Pagett. Læs resten
Disformation – Liberating music from all kinds of context (interview)
By Wieland Rambke
How do you create a space without a context? This question lies at the heart of new-founded experimental music label Disformation, conceived by Casper Gottlieb and Jesper Bagger Hviid of Copenhagen-based noise act GOHV. In its output, the label seeks to release music that pits itself against the very notion of context: Disformation rejects the creation of narratives as a whole.
For the listener, every attempt at being able to personally relate to the label’s output is denied in favour of releases that seek to isolate music as much as possible from any associative frame. What remains is music that is as blatant as it is abject. Music that is simultaneously cloaked and in-your-face.
But how do you create a space with no boundaries, without any points of reference? What remains when the backgrounds disappear? Læs resten