This Thursday at Mayhem, Moral Defeat presents a showcase from the Russian label, Perfect Aesthetics, featuring performances by Burning Pyre, Måla, Marble Bust and Ato Vari, with DJ support from Yuri. An evening of ambient synth romanticism to accidentally, or perhaps not, take place on Valentine’s day.
Founded in 2015 by Arthur Kovaløv, Perfect Aesthetics has released a number of cassette and digital releases promoting mainly but not exclusively Russian talent. The label’s signature lo-fi ambient melancholia garnished with a touch of synth-pop, industrial and/or modern classical does not veer too far from the aesthetics Copenhagen’s very ownJanushoved or early releases fromPosh Isolation, which is only one of the reasons why Mayhem feels like a perfect fit for this show. Appropriately enough, both of those labels are represented by the local support acts, with Janushoved’s Yuri in charge of DJ-ing duties and Ato Vari—who released his 2017 drone tape “Brevis” on Posh Isolation—playing a live set.
Perfect Aesthetics brings three acts to showcase what it’s all about. Hailing from UK is the experimental sound artist C. M. Owen aka Burning Pyre, who has two releases on the label so far—2018’s dreamy electronic album “The Look of Love”, and the 2016 tape of lo-fi synth soundscapes “Insipid Dalliance”. Måla is one of the several aliases used the Russian experimental musician and co-founder of the Saint Petersburg label Sination, Eduard Tchaika. The lush ambient tracks that made up his latest album “Add Star To” have recently been reworked for the remix album “Add Star To Remixes” by his label-mates—including both Burning Pyre and Marble Bust, also performing at the event. Although the latter seems to have only been featured on the aforementioned remix collection so far, as well as on another one of label’s various artist’s compilations called “Shelter”, Marble Bust confidently boasted some compelling beat-infused ambiance on both occasions.
Info: Perfect Aesthetics showcase takes place this Thursday, February 14th from 20:00 at Mayhem, Ragnhildgade 1. Tickets are 70 kr.
An evening w Graham Lambkin, Vilde Tuv & Paisajes at Mayhem. 29. november 2018 – Reportage af Claus Haxholm, foto af Yuko Zama www.erstwhilerecords.com
Aftenen startede med Paisajes, der betyder landskaber – og navnet både som klang og betydning passer ganske godt til en ret retrospektiv form for ambient musik – akustiske pianoer, der bliver afspillet over skyer og tåger af støj og mere harmoniske flader. Fladerne bestod dog vist mere af rumklang end synths, der var iblandet lave field recordings, eller måske var det støj fra båndmaskinen. Det var svært at regne forholdet mellem computeren og båndmaskinen ud. Et relativt minimalt set-up med en bærbar og en båndmaskine, begge af flot design. Jeg troede først, der var en skarp konceptuel tilgang til deres forhold, men ret hurtigt viste det sig at være mere poetisk baseret. Det, jeg havde sværest ved i den første koncert, var Paisajes’, i mangel på bedre ord, “underdanighed” i forhold til ambientmusikkens arv.
Jeg havde desværre meget, meget svært ved ikke at tænke på en vis brite, som havde en anden form for narrativ/samfundsrelateret struktur at lægge det hele på. Det manglede lidt, og jeg havde håbet, at der så ville være et tankespil mellem de to teknologiers møde, og det skete også til sidst, da båndmaskinen – utilsigtet, går jeg ud fra – begyndte at brumme, samt at computerens lyd begyndte at fade ud. Læs resten
In February this year the American tape label Fallow Field sent out a double cassette tape with a collection of new Danish black metal under the name Korpsånd, “an introduction to new wave of raw DKBM”. Korpsånd (en: corpse+spirit) that connotates both a brotherhood and rising from the dead, is a term coined by Jesper Bagger Hviid, musician, sound engineer and caretaker at the venue/rehearsing space Mayhem, and Emil Toft, musician and half of the label Hævngær.
Later “Korpsånd” was released on CD by Tour de Garde and it is now finally seeing a double-LP release in the winter as a conclusion of a great year, that also saw Korpsånd represented at the Festival of Endless Gratitude, touring abroad and playing several concerts at Mayhem in Ragnhildsgade.
However, despite the connotations to a brotherhood Korpsånd is neither the end nor the only means of this group of people who have also seen a number of international releases and individual paths through other genres than black metal. Rather it could be viewed as a banner for a series of black metal-bands who share a recording studio, a set of aesthetics and belong to the noise/experimental scene of Mayhem. Although they don’t see themselves as part of a greater metal scene in Copenhagen, Korpsånd have connections to other diy-establishments like Kill Town Death Fest, Extremely Rotten Store, Night Shroud Records, fellow Mayhem-band Slægt and the new label Nattetale.
How and where did you actually meet and when did you form this group?
Emil: “Before our bands started to affiliate there was a sort of void in the Copenhagen BM scene. I think we all shared a dissatisfaction with the contemporary metal and punk scene in Copenhagen, and of course a shared interest in wide variety of music. I believe the idea for the compilation spawned out of a show Lesion, Afkald, Blot & Bod, and Vaabnet played at Mayhem. The compilation was a good opportunity to start new projects, most of which have continued to make music since.”
Can you explain in more practical terms, what the core of Korpsånd is? Is it 12 people in a rehearsal space, or what is it exactly?
Jesper: “Not exactly. Korpsånd is merely the banner under which we move for now. Our studio at Mayhem, which is also the rehearsal space for every band that Erik, Jølle and I are in, has become the center of the group. This is where I record everything we release, but people are connected to different rehearsal spaces all over the city. Our group is tightly knit and rather few people make up a lot of different projects. For now, the Korpsånd banner still makes sense.”
In terms of artistic output and sound production, what is your common ethos and what is different among the members of the group? Listening to the compilation itself shows a variation within that black metal idiom. How do you see that? And some individuals even plays in other non-dkbm bands and projects, is that not considered heresy anymore?
Jesper: “I don’t even think we have a common ethos. We are all very different, yet very good friends. Every project has its own distinct life. This of course derives from the specific constellation of members and the common ground they establish.
The black metal idiom is extremely elastic. As are the agents within. Amongst the people of Korpsånd, there are people active in death metal, techno, power electronics, noise, abstract electronics and experimental music in general. Heresy should be praised!”