Posts Tagged ‘Copenhagen’

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The Cure bring their melancholic, majestic melodies back to Roskilde Festival Black clothing, sooty eyeliner, blood-smear lipstick and a cobwebbed forest of hair have always made Robert Smith a stand-out front figure. And once you have heard him and the rest of The Cure give sound to their sometimes mournful, sometimes ecstatic, always dead-on-catchy songs, you find a true signature there as well.

Robert Smith and co. have been around in various line-ups for 40+ years now, and they have a hit-after-hit catalogue of songs for a massive live show.  Today, The Cure have sold about 30 million records worldwide, and they have released no less than three best-of compilations. This says a lot about the popularity surrounding a band that started playing post-punk in the London suburb of Crawley before moving onwards to an infectious mix of haunting melancholy and off-kilter pop. Through the years they have produced more than 30 critical singles, including ear worms like “The Lovecats”, “Close To Me”, “Just Like Heaven”, “Lullaby” and “Friday I’m in Love”. Among their 13 studio albums they have created dark masterpieces that remain on various ‘best ever’ lists, including Pornography, Disintegration and Bloodflowers.

The Cure has always put on marvellous shows that resonate with thousands of Roskilde-goers. And once they start playing they don’t stop anytime soon. Their setlists are always immense.

Seeing the Cure live is much more than a celebration of their legacy. You sense that you’re witnessing that rare feat of a decades-old band perhaps entering their prime rather than their twilight years. On their 1982 track “Pornography” Robert Smith sings: “I must fight this sickness, find a cure”. A vivid image on how The Cure’s music is soul-cleansing, cathartic stuff.

Setlist:

00:00:00 – Intro 00:01:40 – Shake Dog Shake 00:06:20 – From the Edge of the Deep Green Sea 00:14:20 – Just One Kiss 00:18:40 – Lovesong 00:22:26 – Last Dance 00:27:31 – Pictures of You 00:35:04 – High 00:38:44 – A Night Like This 00:43:04 – Burn 00:49:29 – Fascination Street 00:54:29 – Never Enough 00:57:34 – Push 01:02:16 – Inbetween Days 01:05:13 – Just Like Heaven 01:09:12 – Play for Today 01:13:16 – A Forest 01:21:26 – Primary 01:25:35 – Want 01:30:47 – 39 01:38:09 – One Hundred Years [encore] 01:50:12 – Lullaby 01:55:03 – The Caterpillar 01:58:59 – The Walk 02:02:32 – Friday I’m in Love 02:06:27 – Close to Me 02:10:00 – Why Can’t I Be You? 02:13:49 – Boys Don’t Cry

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Galaxie 500 were a really well-regarded indie rock band at the time. They signed to a big indie label, they got to tour a lot, to record extensively with the single producer on Earth they were most suited to work with, and they were absolutely adored all over in Europe. Galaxie 500 made three great records that people bought thousands of copies of, Galaxie 500 have later emerged as one of the pivotal underground groups of the post-punk era, dreamy and enigmatic, their minimalist dirges presaged the rise of both the shoegaze and slowcore movements of the 1990s. The group formed in Boston, Massachusetts in 1986 and comprised vocalist/guitarist Dean Wareham (a transplanted New Zealand native), and bassist Naomi Yang and drummer Damon Krukowski, longtime friends who first met in high school in New York City before all three attended Harvard. Wareham and Krukowski initially teamed in the short-lived Speedy & the Castanets, which split after their bass player experienced a religious conversion; upon re-forming, the duo recruited Yang to play bass, although she had no prior musical experience.

Named after a friend’s car, Galaxie 500 began performing live throughout Boston and New York before recording a three-song demo tape which they sent to Shimmy Disc head honcho Kramer, who agreed to become the trio’s producer. After bowing in early 1988 with the singles “Tugboat” and “Oblivious” (the latter track featured on a flexi-disc included in an issue of Chemical Imbalance magazine)

Today

They issued their full-length debut, “Today” in 1988, which highlighted the group’s distinct, evolving sound pitting Wareham’s eerie, plaintive tenor, elliptical songs, and slow-motion guitar textures against Yang’s warm, fluid basslines and Krukowski’s lean drumming.

Damon Krukowski: said ,We had been listening to a Half Japanese record produced at Noise [Music to Strip By]– it sounded very spacious. All the other Boston bands were turning out a very heavy, dense sound. We were looking for something else. We weren’t a heavy band after all. We called to ask the rates– they were cheap! So we booked time. That’s how we came to record the “Tugboat” single at [his studio] Noise, and how we met Kramer. It turned out he was the only employee.

Galaxie 500’s debut doesn’t merely live up to the sweet promise of the band’s debut single “Tugboat,” Today’s final song, but almost without trying becomes its own gently powerful touchstone. While the influences are clear — third album Velvet Underground, early non-dance New Order, psychedelic haze and fuzz thanks to the reverb Kramer piled on as producer. By never feeling the need to conventionally rock out, the Krukowski/Yang rhythm section comes up with its own brand of intensity. Sometimes the two are persistently skipping along without Krukowski having to bash the hell out of the drums (the downright delightful “Oblivious” is a good example), other times they simply play it soft and slow. Meanwhile, Wareham’s low-key chiming and slightly lost, forlorn singing, at places wry and whimsical, often achingly sad, forms the perfect counterpoint to the songs’ paces, feeling like a gauzy dream. When he comes up with his own brand of electric guitar heroics, it’s very much in the Lou Reed and such descendants vein of less being more, setting the moods via strumming and understated but strong soloing. One particular Descendant gets honored with a cover version: Jonathan Richman, whose “Don’t Let Our Youth Go to Waste” is turned into a deceptively calm epic, with marvelous playing by all three members.

Dean’s smallish high voice, subtle accent, and laconic guitar were seated by Damon’s spacious sound– long cymbal splashes, bottom heads on his sparkly Gretsch kit– and Naomi’s unique, wide toned high on the neck melodies made a big, wide, slowly moving cloud.

It’s easier to lose oneself in the flow of the sound rather than worry about any deep meaning, making the stronger images that come to the fore all that more entertaining, like “watching all the people fall to pieces” in “Parking Lot.” “Tugboat” itself, meanwhile, remains as wonderful as ever, a cascading confession of love at the expense of everything else, somehow mournful and triumphant all at once.

On Fire

After signing to the U.S. branch of Rough TradeGalaxie 500 issued its defining moment, 1989’s evocative “On Fire”, a remarkably assured and rich record including the superb singles “Blue Thunder” and “When Will You Come Home.” Having already made a fine account of themselves on “Today”, the three members of Galaxie 500 got even better with “On Fire”, recording another lovely classic of late ’80s rock. As with all the band’s work, Kramer once again handles the production, the perfect person to bring out Galaxie 500’s particular approach. The combination of his continued use of reverb and the sudden, dramatic shifts in the music — never exploding, just delivering enough of a change — makes for fine results.

We were signed to Rough Trade by Robin Hurley, who ran the American label, and Geoff Travis, who was our A&R man and the head of the company back in England– both great people. It’s kind of amazing the list of things he has been involved with: Swell Maps, Jonathan Richman, Shockabilly, the Smiths, the Jesus and Mary Chain, Pulp, the Strokes.

Consider “Snowstorm,” with Krukowski’s soft-then-strong drums and Wareham’s liquid solo and how they’re placed in the mix, leading without dominating. Yang’s vocals became more prominent and her bass work more quietly narcotic than before, while Krukowski adds more heft to his playing without running roughshod over everything, even at the band’s loudest. Wareham in contrast more or less continues along, his glazed, haunting voice simply a joy to hear, while adding subtle touches in the arrangements — acoustic guitar is often prominent — to contrast his beautifully frazzled soloing. Lead off track “Blue Thunder” is the most well-known song and deservedly so, another instance of the trio’s ability to combine subtle uplift with blissed-out melancholia, building to an inspiring ending. There’s more overt variety throughout “On Fire”, from the more direct loner-in-the-crowd sentiments and musical punch of “Strange” to the Yang-sung “Another Day,” a chance for her to shine individually before Wareham joins in at the end. Again, a cover makes a nod to past inspirations, with George Harrison being the songwriter of choice; his “Isn’t It a Pity” closes out the album wonderfully, Kramer adding vocals and “cheap organ.” Inspired guest appearance  Ralph Carney, Tom Waits‘ horn player of choice, adding some great tenor sax to the increasing volume and drive of “Decomposing Trees.” CD pressings included the bonus tracks from the Blue Thunder EP.

After a limited-edition 7″ release featuring live renditions of the Beatles’ “Rain” and Jonathan Richman’s “Don’t Let Our Youth Go to Waste”.

The group returned in 1990 with This Is Our Music, a diffuse collection spotlighting the wry, sunny single “Fourth of July” and a haunting cover of Yoko Ono’s “Listen, The Snow Is Falling” .

What turned out to be the final Galaxie 500 album was also arguably the band’s most accomplished. Not that the earlier records lacked either charm or ability, but right from the charging, chugging start of “Fourth of July,” the amazing single and lead off song from This Is Our Music (even including a cheeky Velvet Underground reference from “Candy Says”), the trio here sounds like they could take on anyone. Kramer’s production and the use of reverb from past releases all once again contribute to Galaxie 500’s magic, while the individual members continue to sound fantastic. Somehow, though, everyone aims higher, Wareham’s singing among his finest and his guitar going for the truly epic more than once, Krukowski and Yang even more perfectly in sync than before, often being very bold without losing their intrinsic warmth.

From a generally different approach, Galaxie 500 here easily equaled the heights of their U.K. shoegaze contemporaries and often trumped them — “Summertime” in particular is a stunner , while making a lot of contemporary American indie rock seem fairly dull and workaday. The choice of cover version this time out is astonishing Yoko Ono’s “Listen, the Snow Is Falling,” with Yang singing beautifully over, initially, Wareham’s echoed guitar strums, and Krukowski’s barely-there percussion cascade. The switch to a full-band arrangement, far from destroying the song’s spell, makes it even more intense and gripping a listen.

The subtle touches throughout the album add immeasurably to its magic — the soft ringing bells shimmering through “Hearing Voices” quiet synth on “Spook,” and Kramer’s self-described “cheap flute” on “Way up High.” It all concludes with “King of Spain, Part Two,” a reworking of the flip side to “Tugboat” while it wasn’t a planned finale, as an unexpectedly right bookend to a career, it ends both Galaxie 500 and This Is Our Music on a perfect note.

Later CD versions include a cover of the Velvet Underground’s “Here She Comes Now,” originally the B-side from “Fourth of July.”.

Galaxie 500 recorded two sessions for John Peel’s BBC Radio 1 programme, these later released on the Peel Sessions album. Their cover of Jonathan Richman’s “Don’t Let Our Youth Go To Waste” was also voted into number 41 in 1989’s Top Festive 50 by listeners to the show. Dean Wareham: The first Peel Session we did was engineered by Dale “Buffin” Griffin, formerly the drummer in Mott the Hoople. I remember him being impatient. We were amazed at how big the studio was, and this computer they had that could mark the different sections of the song and take the tape machine right to them. My favorite Peel Session recording was our cover of the Sex Pistols’ “Submission”. People always say that’s an unlikely cover but Damon and I had been playing that one since our days in Speedy and the Castanets; it was one of the first songs we learned together.

Following a subsequent tour, Galaxie 500 disbanded after Wareham phoned Yang and Krukowski to say he was quitting the group.

A few months later, after Dean Wareham formed his new band, Luna, Rough Trade went bankrupt, and with the label’s demise went the trio’s three albums, as well as their royalties. In 1991, at an auction of Rough Trade’s assets, Krukowski purchased the master tapes for the group’s music, and five years later the Rykodisc label issued a box set containing Galaxie 500’s complete recorded output. A previously unreleased 1990 live set, dubbed Copenhagen, followed in 1997.

Copenhagen

A presumably final punctuation mark on Galaxie 500’s work, “Copenhagen”, released in 1997, is actually a recording from the last date of the band’s late 1990 European tour, captured for radio broadcast in the Danish capital in front of a vocally appreciative crowd. One main reason to listen in is hearing how the band’s studio approach clearly differed from the concert arena — while Kramer handles the live sound, the cocooning web of reverb familiar from the records isn’t present here. As a result, the performances have a more direct approach, Wareham’s voice a little more naked, his thoughts on emotional connection, and the oddities of life easier to capture. Yang’s bass gains in prominence as well, almost more so than Wareham’s guitar at points, while Krukowski as always keeps the beat well, adding subtle flourishes and touches as he goes. All this would be mere technical notation if the performance itself wasn’t worthy, though, and that it is. Touring for “This Is Our Music” as the trio was, the set list is mostly focused on that, though a fine version of “Decomposing Trees” starts things off. Three of the band’s favored covers close the set — Yoko Ono’s “Listen, the Snow Is Falling,” the Velvet Underground’s “Here She Comes Now,” and a version of Jonathan Richman’s “Don’t Let Our Youth Go to Waste” that provides a great final kick. For all the excellence of the show, one can hear a little more than once in Wareham’s soloing what Yang and Krukowski later described as his tendency to play the big rock star toward the end of the band’s life. It’s not bad work, but the cracks were starting to show.

Riotous guitars, insistent beats, and captivating melodies: this is the essence of The Oceans. Formed in 2014 by Copenhagen multi-instrumentalists Dan Joe & Linus Valdemar, the duo sounds like their city feels – a pulsing, paradoxical sea of chaos, noise, and serenity.

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Band Members
Linus Valdemar,
Dan Joe

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Each new song Iceage have released ahead of Beyondless has revealed it’s an album to get excited for, but this one just might be the most intriguing of the bunch. Surrounded by haggard, chain-smoking rockers and arid, brooding slow-burners, “Take It All” instead conjures up the just-left-of-reality experiences of dream states. Iceage have never recorded a song so elusive yet so emotive.

“The Day the Music Dies” combines raunchy brass, frontman Elias Bender Rønnenfelt’s sassy lead vocals and driving keyboards into a theatrical, Rolling Stones-esque stomper with Rønnenfelt drowning in anxiety (“How can one kill an impulsion / When it’s still kicking and breathing”) and restlessness (“The future’s never starting / The present never ends”).

From the new album ‘Beyondless’ out May 4th on Matador Records.

Palace Winter are Copenhagen-based Australian Carl Coleman and Dane Caspar Hesselager.
Having played in bands separately for years, a mutual respect for each other’s styles encouraged them to start writing together. Carl coming from a song-writing background. Caspar, a producer and classically trained pianist. Both, however, appreciate a strong melody, which is evident throughout the atmospheric dark-pop they create.

Their debut single was released in 2015, followed by an EP and in the summer of 2016, their debut album, “Waiting for the World to Turn” arrived. All released via Copenhagen-based label Tambourhinoceros.
The support that followed was widespread. Number 1 on Hype Machine and overwhelming reviews from heavy hitters like The Guardian, NME and Line of Best Fit. Radio support came from Guy Garvey, Lauren Laverne and Tom Ravenscroft at BBC 6 Music, KCRW, KEXP, Norway’s P3 and Denmark’s P6.

The band have successfully brought their cinematic psych-pop to the stage. With an increasing number of sold out live shows under their belts, fans have not been left disappointed by their hypnotic and mind-blowing live sets.
Having already supported Noel Gallagher and played Guy Garvey’s Meltdown, Roskilde, Green Man, Sziget in Budapest, Latitude and Secret Garden Party, amongst many others, Palace Winter are well placed to blow the roof off 2018.

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Palace Winter are
Carl Coleman & Caspar Hesselager.
Live Team adds:
Jacob Haubjerg – Guitar
Jens Bach – Drums

“Empire” is taken from the album Nowadays, out on May 4, 2018

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Iceage are a four-piece band from Copenhagen, Denmark signed to Matador Records that make punk-rock of a darker tone than most. ‘Catch It’ is the band’s first release in four years which features a poetic lyrical delivery from lead singer Elias Bender Rønnenfelt in his typical dingy fashion, chopped up with a contrasting guitar solo for added reflection.

On “Catch It,” he delivers one of his most emotive vocal performances yet. Over a simple, lurching chord progression, he groans and seethes into the mic, telling his story as with the wrinkles in his voice as with his words. Because there are only a few notes in the new single’s vocal melody, Rønnenfelt has more of a chance to modulate the texture of his voice. Rønnenfelt has the power to imbue even the simplest words with a distinctly dangerous aura: “You want it, you want it, you want it again/Why don’t you come and ask me?/I adore you, my friend,” he sings with what could be hint of malice. When “Catch It” slows to a false ending and then spins back up into a raucous, unhinged instrumental climax, it only makes his come-on sound like it could double as a threat.

Band Members
Dan Kjær Nielsen
Elias Bender Rønnenfelt
Johan Wieth
Jakob Tvilling Pless

LOD – ” Folder “

Posted: December 21, 2017 in MUSIC
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‘Folder’ is the self-titled track taken from Lød’s debut EP, released June 30th. Limited to 300 copies on vinyl, 75 of which are on cream vinyl and only available through the Tough Love store. The four original members of Lød formed after graduating school in Copenhagen, inspired by the post-punk that was prominent in the fervent, close-knit music community of the city. The first version of Lød was very much birthed in this same shadow: loud and heavy.

With time and addition of a fifth member, their sound began to rely less on distortion, foregoing aggression for a greater focus on melody and rhythm. Bands like LCD Soundsystem & Kraftwerk provided further inspiration and it became an ambition for Lød to create music that – while never taking the easy route – could make people dance. With their debut EP, released via London-based label Tough Love, they have very much achieved this. They’re a dance band, in the same way one might consider NEU a dance band.

The recording of Folder began in October 2016 with engineer Julius Pedersen, who helped the band shape tracks that had taken more than six months to write. The result is a 24-minute, four song debut EP sung in Danish. You might consider it uncompromising were the songs not so accessible.

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And despite their length, these are ‘songs’, with defined melodies and structure. Looping and monolithic, early commentators in their home country have noted a “trance-punk” aspect to their sound. Such nomenclature can be tedious, but it’s not a million miles from the truth. Bringing to mind the likes of Preoccupations in their similarly propulsive take on post-punk, Lød add a further glacial edge indebted to both early industrial and no wave.

Lød are:

Vocals: Søren Gade
Drums: Mads Uldum
Bass: Sebastian Kjær
Synt: Anders Andersen
Guitar: Erik Thøgersen

Communions, made up of brothers Martin & Mads Rehof and high school friends Jacob van Deurs Formann and Frederik Lind Köppen, began in 2014releasing their debut EP Cobblestones, followed by a 7″ & EP. These releases, as well as the forthcoming 7″, precede the band’s anticipated debut album & showcase Communions’ distinctive sound full of transcendent melodies, delicate guitar lines & emotive pop-leaning rock songs.

The quartet came together at Copenhagen’s infamous venue-cum-rehearsal space, Mayhem, they wilfully took chances with their music to see if they could arrive somewhere else. It was the band’s conviction that let them land here intact, and with a collection of songs that chart their journey.

“Blue” makes the most of everywhere Communions have been. And through all of this the stakes have changed, but the sensitivity and craft with which the band takes risks has bloomed. An eloquence now shines through, and you can take it or leave it. Discarding some of the moodiness found in their previous recordings, Blue tells us what was always natural to Communions. It’s about love, and taking chances, it’s about trying something, and it still doesn’t matter if there’s apprehension—it’s better when you’re too busy to notice. The youthful confusions and exaggerated sentiments are there, though this time it’s captured with a newfound maturity. It’s a change in perspective presented in pop.

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Danish group Virgin Suicide have a bold attitude towards songwriting. A band capable of reaching great heights, the Nordic outfit’s debut album reached far-reaching acclaim in their native Denmark.

New album ‘Forever Trouble’ is upcoming, An engaged return, it finds Virgin Suicide wrestling with their own demons, continually at war with themselves. Virgin Suicide is the sound of clean chords and heart wrecking melodies. It’s all about the despair of being young, and what we hope to be after we’ve lost something.

Martin Grønne explains how “the song tracks the almost impossible acceptance of the fact that nothing is really gonna get better… Your mind always finds a way to trouble up your life and that’s how it’s always gonna be.”

Sweeping songwriting with a hint of the epic,

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Communions, made up of brothers Martin & Mads Rehof and Jacob van Deurs Formann & Frederik Lind Köppen, The band began in 2014, releasing their debut EP Cobblestones, followed by a 7″ & EP. These releases, as well as the forthcoming 7″, precede the band’s anticipated debut album & showcase Communions’ distinctive sound full of transcendent melodies, delicate guitar lines & emotive pop-leaning rock songs.

http://

Blue makes the most of everywhere Communions have been. And through all of this the stakes have changed, but the sensitivity and craft with which the band takes risks has bloomed. An eloquence now shines through, and you can take it or leave it. Discarding some of the moodiness found in their previous recordings, Blue tells us what was always natural to Communions. It’s about love, and taking chances, it’s about trying something, and it still doesn’t matter if there’s apprehension—it’s better when you’re too busy to notice. The youthful confusions and exaggerated sentiments are there, though this time it’s captured with a newfound maturity. It’s a change in perspective presented in pop.