Passive/Aggressive

Exploded View – The art of cool (live review)

English Kritik June 17 2018 explodedview

Review of Exploded View @ Loppen, 5.6.2018 by Ivna Franic.

Last week’s Exploded View concert at Loppen was one of those gigs you could have easily missed out on, be it because you weren’t aware it was happening or because the band’s name didn’t ring a bell in the first place. But perhaps that shouldn’t come as a surprise.

The band’s frontwoman Anika has several acclaimed releases behind her – including Exploded View’s 2016 album for Sacred Bones, as well as her own debut LP recorded with Geoff Barrow’s (of Portishead fame) band Beak> and last year’s intriguing collaboration with Shackleton on Behind the Glass LP. In spite of some pretty impressive references, Annika Henderson – also known simply as Anika – had always seemed to prefer to maintain a low profile, representing an anomaly of sorts in contemporary music landscape. The Berlin/UK musician’s project Exploded View is a four-piece band assembled in Mexico City: apart from the regular members Hugo Quezada and Martin Thulin, this time the band was joined by Paulina Lasa. Læs resten

Berlin Atonal 2017 – Low-risk techno

September 10 2017 Abul Mogard_Berlin Atonal 2017 © Camille Blake-2

Berlin Atonal 2017, August 20th-24th – live report by Ivna Franić, photos: Camille Blake/Atonal

Berlin Atonal’s second incarnation quickly gained the status of an industrial techno institution, bringing some of the strongest names in the game to perform exclusive sets in a unique setting year after year. Now in its fifth year, Atonal 2.0 starts to show signs that it might need to rethink its formula a bit.

A significant part of the programme takes place at the club spaces of OHM and Tresor, but the large industrial space of Kraftwerk undoubtedly makes for the centre of the festival. Attending this space, which could hardly be described as “comfy”, is an experience in itself, although doing it for five days in a row can exhaust the powerful first impression. Læs resten

Et Sejerø-trip gennem ormehuller, kiosk-København, WTF-skalaen og andre sproglige billeder

Feature August 10 2013 Sejerø2013_5_martinsøgaardhansen

Af Andreas Syr, festivalgænger. Fotos af Martin Søgaard, Brendan Leahy og Ringa Manner.

At den omkring en time lange færgesejlads til Sejerø fungerer som en portal, et ormehul af en art, måske endda et indvielsesritual, er tydeligt for enhver, der har været på festival i den gamle gård ved Gniben. For mit vedkommende er det noget med at køre ud af færgen i den gamle bil og så op over bakkerne og langs med kornmarkerne og ud og bade i bugten – og det er noget med solnedgange, propfyldte gårdspladser, kulørte lamper, mærkværdige objekter i landskabet og en generel beruset boblen i blodet. Noget med frihed, måske endda noget med en utopi.

Og så naturligvis musikken, som hvert år har været god, nogle gange fantastisk, men først og fremmest udmærker sig ved programmets rene og skære grænseløshed, geografisk, følelses- og genremæssigt. Festivalen har i kraft af sit program og sin placering leveret nogle sindssygt mindeværdige koncertoplevelser – for eksempel britiske Shackleton, der i 2011 spillede sin regnvådt tunge, storby-melankolske dubstep på en scene, hvor naturen bogstaveligt talt vokser ned igennem den gamle bjælkekonstruktion, og svalerne flyver rundtosset igennem strobolyset over DJ-pulten. Sejerø Festival er en på alle måder usædvanlig, lysergisk og fantastisk oplevelse, og det er fantastisk, at den kan blive ved at finde sted. I år med et endnu bedre program og et ry, der var løbet den så meget i forkøbet, at der var udsolgt, endnu inden der var annonceret nogle kunstnere.

Besynderlighederne var gudskelov ej heller i år overset – tværtimod, nærmest.

Sejerø2013_9_RingaManner Læs resten