Passive/Aggressive

Elysia Crampton & Why Be – Only mine, only yours (live)

Blog June 10 2018 IMG_1551

Live review of Elysia Crampton: ‘Red Clouds’ feat. Why Be 17.05.2018 at Alice by Cameron Pagett.

“You used to work in the LA scene? So like The Smell?” It’s only a few moments into my first interaction with Elysia Crampton and we are already reaching back deep into California DIY Roots. It always brings me a certain warmth when people mention the international temples of good underground music and certainly one where I got my first taste of a certain texture of freedom. The Bolivian-born composer, producer and writer grew up in the Inland Empire, an area associated with many things, but certainly not a place with a likely trajectory for an experimental artist. With the backdoor open to the venue and light breeze filtering the backstage room, she relaxes languidly on the sofa straightening her hair as we converse. She is a good listener, and I’m not sure how much I can recall of the conversation but it had a flow that I feel reflected the attitude and energy of the evening.

Outside the patio was filling in with the energy of the gentle breeze, a sort of non-frivolous, melodic and rhythmic flow of faces ready to share in the final Proton show of the scheduled season. A friend approaches me and mentions the first set which will be played by Berlin-based and former Copenhagen resident Tobias Lee with his solo project Why Be. Having never heard him play live I was also curious, and even more so when I found out that Elysia and he would be sharing the stage in a joint performance. Crampton’s ‘epic poem’, “Demon City”, was produced in collaboration with, among others, Why Be and Chino Amobi, and their joint performance this evening was a showcase for her upcoming project, “Red Clouds”. Læs resten

Organ Tapes – Mumlende autotune i kærlighedens navn

Kritik February 5 2018

organ tapesOrgan Tapes “Into One Name” (Genome 6.66 Mmp, 2017) – anmeldelse af Alexander Julin

London-baserede Tim Zhas sange under navnet Organ Tapes rummer den samme nærmest kitchede sensibilitet som eksempelvis hos Uli K og Palmistry. Hans simplistiske sange simrer af bubblegum-pastiche og en sentimental autotune-vokal, der er så snøvlet, at den er utydelig. På papiret lyder Organ Tapes som et fuldstændig gennemsnitligt sovekammerpop-projekt anno slut-10’erne, men sangenes radikale sårbarhed hæver dem langt derover.

På sit tredje album, “Into One Name”, manifesterer Organ Tapes sig som en musiker, der formår at give lyd og stemme til en sindsstemning uden nødvendigvis af den grund at sætte ord på den. Det er fejlagtigt at påstå, at følelserne kommer klarest til udtryk i vores evne til at ytre/verbalisere/udtrykke dem verbalt, at det er gennem en navngivning af vores indre liv, at de får form. Organ Tapes gør det ofte umuligt at tyde teksterne, men hans stemme fylder stadig meget i hans sange. Med sin autotunede sang formår Zha at sætte følelserne i fokus frem for deres navne eller indhold. Når de får lov til at blive sunget uden nødvendigvis at være for tynget af en lyrisk mening, bliver de også sangenes primære fokus. Det degraderer ikke sangene til nonsens, men påfører dem en åbenhed, hvor man selv kan synge sin egen mening ind i de mange passager, hvor lyrikkens indhold er umuligt at dechifrere.
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An Gella – Når skønhed og brutalitet smelter sammen

Kritik November 2 2017 An Gella Press Pic 2

Af Emil Grarup

Det er svært at benægte Aske Zidores musikalske alsidighed. Den København-baserede producer, komponist og musiker har været involveret i et væld af projekter fra alle ender af spektret: Fra den for længst hedengange powerpop-kvintet Oh No Ono over soloprojektet Andrea Welz, psych-bandet Gooms, det eksperimenterende Hong Kong Ladyboys og til soundtrack-projektet Breaker of Horses med Jannis Makrigiannis fra Choir of Young Believers på vokal. Igangsat nu er soloprojektet An Gella. Zidore har med Villads Klint (Minais B, Khalil) grundlagt pladeselskabet Anyines og det er dette selskab, der nu er aktuelt med An Gellas fuldlængdedebut ved navn “Perma”, som udkommer i morgen d. 3 november.
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Halfdan Pisket og “Den Usynlige By” – Tilgængelighedens politik

April 12 2017 albrecthsen-kirkegaard-high

Livereportage fra CPH:DOX af Nils Bloch-Sørensen

Den 22. marts, mens CPH:DOX-festivalen var i fuldt flor, havde jeg dobbeltbooket mig selv. Ved ni-tiden var planen, at jeg, sammen med resten af Københavns lydnørder, skulle indfinde mig i Imperials sal og opleve Peter Albrechtsen og Jacob Kirkegaards nye lydinstallation, ”Den Usynlige By”. Men i et anfald af festival-FOMO besluttede jeg mig for først at nå så meget, jeg kunne af Halfdan Piskets oplæsning på Vesterbro. Ud over angiveligt at have holdt nytår med Piskets lillesøster havde jeg kun et meget overfladisk kendskab til tegneserieforfatterens arbejde og var derfor ikke klar over, hvad der ventede mig, da jeg trådte ind i Absalonkirken. Læs resten

Thoughts on Fitting In – a conversation with Rabit and Why Be

Feature June 24 2016 rabit-announces-us-and-european-shows-posts-mix-body-image-1454192225

Written by Nicolai Vesterkær Krog

Though having a genre-defying approach to his artistry, Rabit – the moniker of Houston, Texas based Eric Burton – has often been mentioned in association with the (otherwise London-centric) grime genre, especially in its more “weightless” forms. Meanwhile, that simplification has long proven insufficient. Culminating with the debut album “Communion” and the preceding EP “Baptizm” (both released by Tri Angle), Burton showcased new sides of Rabit, weaving environmental noises and sound effects into his grime-approved sound palette. With a much more brutal dynamism than on previous outings (and contrasted with more delicate phases), both records cinematically merge grime, industrial, noise, jungle and ambient into a distinct sound. Both releases address his catholic upbringing and express to have found new strength in what he had previously been taught to consider weaknesses, displaying a more politicized (though never directly political) thematic occupation. Burton’s album also largely stepped away from club functionality, being a record that requires countless listens and the listener’s undivided attention to fully unfold. Læs resten