I have earlier mentioned the agreement between Chrz and I giving each other a recording every quarter. In Q1 2009 I got Reigns “A house on the causeway” and now I’m finding reason and time to write a short note about it.

The cover has nine pictures of a foggy landscape. All pictures are looking the same and not looking the same. And this is how I feel about this record. It reminds me of something. Maybe Tarwater as the slow-mo melodies and the recording sound like something from the bedroom. Apart from the parallel to Morr Music there are less clicks and it’s less withdrawn.
To some extent this is a sad record, but as the sadness ends where the story begins and I keep listen to the record as I get familiar with the fog. And as I get familiar with the fog, I see and explore the differences as I listen more careful to the music.

In the beginning of this year I bought B. Fleishmann “Angst is not a Weltanschauung”. The record is from Morr Music and in some way this marks the record inevitable. I bought the record after a review at Cokemashineglow.
Opposite to Reigns the lyrics from B. Fleischmann are mostly personal. It gives the album strength and intimacy.
My favourite track is with vocals (and written) by Daniel Johnston. Johnston is a broken like when a car is broken – but it can get damn (beautiful) sincere in all the misery (look at “Don’t Play cards with Satan”). “Phones, machines and king kong” is actually a simple track with simple (bedroom made) melodies and an unusual heartfelt vocal. It left me speechless wanting to tell the world about it.

Roskilde Festival 2009

Monday, 15 June, 2009

roskilde-festival One year ago I said I wouldn’t participate in the wild and wonderful Roskilde Festival. Two days before I changed my mind and saw memorable performances by MGMT, Battles, Girl Talk and Shantel, while Yeasayers and others have gone into oblivion.

Again this year I am not going. But if I were, there would be plenty of bands to see. The smaller stages have my attention as always. I believe Pet Shop Boys, Coldplay as well as Oasis and Trentemøller are going to kick as at the Canopy stage. But there are a some other bands I would like to promote.

It’s both Karen O’s rock’n’roll attitude as it’s the good melodies and details in the production that convince me Yeah Yeah Yeahs are going to play a great concert. Fever Ray has released a promising album. I’m not sure what to expect – as The Knife only played a few concerts this could both be spectacular or disappointing. I’d also promote White Lies and Friendly Fires for their 2009 dark sound and popular and danceable tunes.

More dark and metal I would love to hear Zu. They are from Ipecac (Mike Patton label) and is all about drone riffs, monster drums and jazz-saxophone. They have some kind of the same approach as Lightning Bolt. I have never seen Isis live, which probably would be enough reason for me to see them. And talking about the heavy stuff I would recommend both Mono and Wolves in the Throne Room.

It’s not going to be heavy all of it. Den Sorte Skole, Hauschka and maybe Shogu Tokumaru have made some impressing releases lately and their approach are never more far out than I think of dancing or dreaming myself far away. Especially Danish act Den Sorte Skole is a must see.

More crazy and edgy you’ll find Gang Gang Dance and Deerhoof. Sometimes Deerhoof gets somewhat annoying in a childish way. Sometimes Gang Gang Dance get too arty farty. However Roskilde Festival must be the perfect place to see these two bands.

After this I’ll probably need to rest and relax. Both Jenny Wilson and Marnie Stern could be nice to see. And The Whitest Boy Alive indeed. If you pass the Lounge stage I’ll recommend you to see the poet Morten Søkilde. His exploration into the sound of syllable is both amazing, beautiful and a somehow kitsch.

Have a nice festival!

mopdtkFree Jazz? Maybe it isn’t that dangerous, complacent and closed around itself? The screaming saxophone on “Fagundus” and other tracks can obviously not be avoided. And the approach of a non-linearity, stratification and fragmentation of musical ideas is quite challenging for the listener (me). However the concept is an opportunity for each part in the ensemble to explore the expected as well as the unexpected. In the inner sleve Mostly other people do the killing (MOPDTK) – or actually Moppa Elliot – states the influence of Ornette Coleman. This regards both terms on how we look at “correct/ incorrect” as well as the notion on “freedom in improvisation”.

In many ways this underlines the impression I have of “This is our Moosic”. Although the music is tight and outstanding, the notation and structure are more guidelines than routines. This gives a playful and completely overwhelming bunch of superiority.
“Two boot jacks” (and other tracks, but this most outspoken) is some kind of gimmicky, when borrowing from the New Orleans Jazz. MOPDTK jump in and out of the music history and context and play with the conventions, rules and expectations. None the less is the cannibalisation of jazz history what I really like. They play with both conscious and surprise to undermine their seriousness – only to create a new perspective and musical experience.

And gosh they play fast. Sit tight. Jazz heroes are here to stay.


‘A child is a rose is a name is a punch in the face’

Does this remind you of the author Gertrude Stein? Well this might be because this very author (along with Morten Nielsen, Michael Houellebecq and others) seems to be a source of inspiration for leadsinger Auring Grimm. He explores the lyrics to let the vocals be more than just an instrument of the band. In the text we find a lot of ‘letters’, ‘stamps’ and ‘words’. The themes are deprivation and love, but there are also themes such as dreaming and letting go (“Away”). I hear the Nordic desolation and melancholy through the album.

In “Brothel” the music is dragging you down, while you listen to the words ‘Look at the water’. I believe the way they drag the listener down to the water is intentional, and I think they succeed in their efforts often. Favourite tracks are “2000 Needles”, “Brothel” and “Away”. It may also be the catchy “Paper cuts”.

On the other hand “Montmartre” seems more blurred than raw, and “Different strengths of white” has many unnecessary effects and seems a bit too polished. It could be a matter of taste?

‘We are unknown addresses / and our hands / are full of letters’

Decorate Decorate have matured. Their mini-album ‘Normandie’ had indirect references to the darkness of Joy Division. Today the band plays more than dark rock. The vocals are British and the music has beautiful references to British shoegazer. Furthermore I must point out that the music and lyrics are more complex. It seems as if the members have opened up as a band. The feelings, presence and intensity are multiple and more various than before. The album is still growing on me.

Bonus: the new ending of “Europe has no heart” is actually a part from an early demo called “Eternity”.