Author: Alan Kortbaek

Agnes Obel, Vesterbro. Sept 2013

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(Interview also out in The Copenhagen Post)

Danish pianist and singer Agnes Obel stormed to European popularity a good 3 or so years ago with her debut album, Philharmonics, a coup de maître that garnered gold in The Netherlands and went platinum in Belgium, France and Denmark. With such accentuated success to live up to, Obel is back in 2013 with her follow-up album, Aventine; a more nuanced and experimental work that draws on the dark emotional influences of Roy Orbison, amongst other inspirations. I caught up with her in Vesterbro, ahead of the start of her European tour and this is what she had to say about her music and the new album.

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Amk: “Welcome back to Copenhagen Agnes.” “For those who don’t know what you’re music is all about, what’s the philosophy behind your music ?” “What goes into making a song for you ?”

Obel: “Hmm, Well I can explain something about the process or the method.” “When I started working on my own music I didn’t have the chance to record in a big music studio so I had to record everything myself.” “I figured out that recording and writing songs at the same time works really well for me.” “A different moods shines through the song and the performance of it also changes.” “ I feel that this way of working also allows me to get closer to the nerve of the song.”

Amk: “You grew up surrounded by musical instruments as a child. How did the piano become your instrument of choice ? ”

Obel: “That’s a good question.” “I don’t know how I was stupid enough not to learn to play all the other instruments” (laughs). “We had a vibraphone and a double bass; why didn’t I learn to play them as well as I play the piano ?” “There was something about the beauty and resonance of the piano that spoke to my imagination I guess.” “My brother was into drums and guitars and I was always very much into the piano.”

Amk: “Your second album, Aventine, is just about to drop.” “You must be pretty excited about it.” “What is different on this album compared to Philharmonics ?”

Obel : “Aventine was made over a more concentrated period (one and a half years). Philharmonics was also recorded over a concentrated period though some of the songs are from earlier in my life. With Aventine, i’m trying to look into new states of mind that i’ve experienced and been curious about.” “The Cello is a major driving force in some of the songs on the album and i’ve experimented with it, using it in new ways and so on.”

Amk: “You’ve got a few shows coming up to promote the album.” “Is there any show that stands out amongst the bunch for you ?”

Obel : “I’m looking forward to Paradiso in Amsterdam- I’ve played there before on one of the first bigger shows I did on the previous album.” “It’s a beautiful venue.” “I’m also really looking forward to playing at Le Trianon in Paris.”

Amk: “What about inspirations ?” “Who or what do you get inspired by ?”

Obel: “I’m inspired by lots of things all the time and these things change, all the time.” “For the new album, i’m particularly inspired by Roy Orbison and the re-invention his songs have gained through David Lynch movies where one sees this dark under-current developing in them.” “I love the conversation between film and music.”

Amk: “You moved to Berlin a few years ago.” “What is it like living there ?”

Obel: “OhI really like Berlin !” “I grew up in Gentofte and moved to Frederiksberg when I was 12.” “When I went to Berlin for the first time I It felt like a big city and a village all at the same time.” “I didn’t really understand the place to begin with so I was very curious and I came home and told everyone that I’d be moving there.” “It was a leap into the darkness to see if it would work out, which it did and i’m very happy living there now.”

Amk: “What is it like to play in Denmark and Scandinavia in general ?”

Obel: “I’ve heard from other artists that people are a little bit more reserved in Northern Europe, which comes across at concerts, where the audience may be quieter.” “So this means less hecklers (laughs) but maybe it also means that people may not be as open about how they felt.” “I’m not so sure this is especially true of Denmark and I haven’t played that much in the North of Europe as most of my performances have been further south but it’s what i’ve heard.” “As far as Denmark goes, it is always really difficult to play for your family and friends.” “One becomes really self conscious, which is a challenge for me especially in Copenhagen where I know some of the venues really well.”

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French Films, Ideal Bar, September 2013

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Welcome to the 21st century of globalisation and cultural fusions, where a Finnish band by the name of French Films can perform songs loosely rooted in classical American pop influences that shudder with clangs of the Beach Boys and The Ramones in central Copenhagen.

French Films marked their return to Danish soil last night following their widely popularised outing at Roskilde’s Pavillion junior stage last year, and what a return it was. Clad in skinny jeans and leather jackets that echoed the sartorial traits of bands such as The Libertines, the Finnish quintet stepped on stage looking blasé and calm, following solid warm-up work by local band The New Investors. The compact confines of Vega’s Ideal Bar allowed the audience to get very close to the stage, rekindling memories of one of the summer’s most promising festivals, Henry’s Dream, where a band with an orientation like French Films would be right at home.

The boys from Helsinki were quick off the mark, getting straight to business with a hot-to-trot opener followed by ‘Take you with me’ off their debut EP, 2010’s The Golden Sea.  Lengthening the proceedings,  songs such as ‘Ridin’ on’ off 2013’s marquee album White Orchid added form and substance to what was ultimately a very intimate concert that had sweat dripping off the walls of a sweltering Ideal Bar.

Invariably, the distinct indie pop renditions of French Films do tend to sound rather repetitive after some time, as one feels lost in the thick mass of strums and heavily percussive melodies. In spite of this, the concert did seem to grow in stature and depth, as the musicians used the full width of the stage to perform with a tremendous amount of energy and free spiritedness.

By the end of the show, many of the evening’s guests found their feet and torsos swaying from side to side in sync with the rhythmic instrumentals, backed by vocal patterns that sent wave upon wave of sun-drenched summer memories into the cold September night.

French Film’s musicianship is a joy to watch, and their sheer energy on stage is a tremendous compliment to their rich, absorbing take on rock. Far too adroit to be playing at Ideal Bar, expect bigger and brighter things from them in 2013 and an almost certain graduation to bigger concert venues for their next visit to Denmark.

For All I have loved and Lost

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I wrote this poem at a point in my life when it felt as if the very ground upon which I stood was molten and unstable beneath my quivering feet. I felt as if I had lost all hope, save for a flicker of optimism somewhere in the corner of my soul. Many months later I can look back and thank all the true friends who have helped me through the process of finding my feet again. Here’s to all we love and invariably eventually lose:

For I have loved and lost

Loved and lost again

And now with the sun high in the sky

My blank thoughts expelled with the clouds

I sit and stare and wonder

How I have loved and lost so much

How my vacant dreams have led me here

To this place cold and bare

How yet another open door has been slammed shut with a thud

I will soar again another day i’m sure

Kiss the lips of the rising easterly sun

And dance with her till the dawn does us part

For I will love and lose

Love and lose again

 

 

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Music Listings, Copenhagen Late August 2013

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Music listings, August 30th- September 5th

CocoRosie: If you’re one of the many nostalgics who long for Roskilde festival-esque experiences, or anything remotely similar from the second you leave the festival grounds every June, CocoRosie’s concert at Vega on the 3rd of September may well be the last such moment of the year. The American sisters sound like a user-friendly version of Icelandic standout Bjørk, albeit with far more indie influences demarcating their identity. CocoRosie are the sort of band that you’d hear shattering the silence of a dark European forest at the peak of summer. You’ll have to make do with experiencing them at Store Vega this time round, though their introspective sound will give your imagination plenty of leeway to run wild.

CocoRosie: Store Vega / 3rd September . 250 DKK

Lulu Rouge / Djuna Barnes : Lulu Rouge is one of the most well-known faces on the Danish deejay circuit, within which, along with the likes of Trentemøller and Mike Sheridan, he’s managed to carve a niche out for himself. A headliner at the annual Stella Polaris chillout festival, Lulu Rouge will most likely venture into a more dance-inducing setlist than his festival forays. He’ll be backed by one of Vesterbro’s most revered personalities, Djuna Barnes, who is no stranger to the world of deejaying and electronic music herself. Los Angeles based Awesome Tapes of Africa will be adding a tribal element to the proceedings with their funky, ritual-like sounds, making for quite a good mix of genres on the evening.

Lulu Rouge / Djuna Barnes / Awesome Tapes From Africa : Rust. 30th August. 60 DKK

Signe Eeg: Signe Eeg’s music is the sort of thing you’d listen to on a Monday night after work. Her soothing voice is as calming as it is captivating, softly flanked by gentle piano accompaniments and the occasional flutter of contrabass. She’ll be performing at the bastion of all things jazz in this city, Monmatre, in a Matinee concert that’ll sooth you softly into September on the 1st of the month. Signe will also perform the evening before, if a Sunday afternoon of jazz is not to your taste.

Signe Eeg quartet, Jazzhus Monmatre, 31st Augustt (20:00) and 1st September (Matinee / 15.00) 375 DKK

Alain Apoloo / The Juke Joint / Modjo’s Blues Bar : Modjo’s Blues Bar is practically the only place that’s worth going to on a Monday night in this city (that is unless you’re into chanting karaoke and getting sloshed with tourists at Sam’s bar). Alain Apoloo may well one of the best guitarists Copenhagen has ever seen, and many in musical circuits wonder why he’s not signed to a major American music label touring the world. Luckily for Copenhagen, his feisty guitar-plucking and cocky vocal skills can still be heard every Monday at the Juke Joint, where many other underground talents strut their stuff in the open jam session.

Alain Apollo: Modjo’s Blues Bar, 2nd September : 20:00 / FREE

Katolysik / Jazzhouse, 30th August 60 DKK

A bit of a wildcard this one. If you’re into spoken word, Katolysik are a dynamic duo who combine poetry (some freestyle) with a guitar and effects pedal. Their lyrical themes seem to capture the imagination of the Danish zeitgeist quite well, hence their popularity. There are also few other rivals in the spoken word category of music in the city, so expect a unique experience but do brush up on your Danish, as some of it can be a bit hard to understand for the untrained ear.

Tina Dickow / Tivoli, 30th August. 95 DKK

Few Danish singers can compete with Tina Dickow at the moment. In fact, if you’re one of those in search of high quality “local” music, look no further. The Århus-born Dickow has gained popularity both locally and abroad for her adventurous forays into the world of the singer-songwriter, producing her music through an independent label. Tivoli is a great place to see her whilst there’s still a slight chance of sun and good weather.

Tina Dicow_ http://www.backseatseattle.com

Twista / Pumpehuset, 31st August. 180 DKK

A couple of years ago, Pumpehuset was headed for bankruptcy and catastrophe therein. Fast forward and the hard work of getting the venue back on its feet is paying off, with many quality bookings being made at the moment to restore the venue’s profile. Twista holds the coveted accolade of being the world’s fastest rapper, capable of “spitting” a bewildering 598 characters in 55 seconds according to the Guinness Book of Records. A seasoned veteran in the world of hip hop, Twista, or “Tongue Twista” as he was known in the past will be supported by Dj Hornes, Realz and Denmark’s uncrowned pop Prince, Joe Moe, the latter of whom has a new album out on the streets currently.

Rub a dub – SRF afterparty / Pharfar single release: 1st September / Stengade. 50 DKK

This year’s very first Scandinavian reggae festival is likely to be a grand affair with the likes of Albarosie, Raske Penge and Mr Vegas performing on Refshaleøen. If the deserted island is too far off, catch a snapshot of the action at the official after party which has been bound with one of the most exciting nights on the monthly calendar, Rub a dub Sunday’s. Danish Dancehall don, PharFar will be releasing an eagerly anticipated new album on the evening which will also feature appearances from the Donkeysound record label, one of the powerhouses behind the upsurge in Danish dancehall at the moment.

Downbeat Impact Vs Larica, BolsjeFabrikken (LÆRKEVEJ, Nørrebro): FREE

The legendary Candy Factory on Lærkevej or BolsjeFabrikken as it is known locally will soon be closing. Before it does however, some of the house’s veritable patrons, cult Ska Outfit Larica will probably tear the roof off it with what will surely be a mammoth evening. Larica will be backed by a host of local and international names on the evening. Did we mention that beers cost a meagre 10 DKK ?

Troels Abrahamsen : Bipolar release party, 30th August, Culture Box, 70 DKK

Troels Abrahamsen is better known as the leader of Danish electronic rock outfit Veto. The charismatic frontman combines lazy, high pitch vocals with trippy albeit lightweight beat structures that are more ideal to sway along to than they are to going amok. Abrahamsen will be flanked by popular trouble maker James Braun and names such as Erosion Flow and Walk Live. As usual, there are 2 rooms to choose from, the larger, more spacious Black Box and the basement Red room, with its low ceiling and lo-fi aesthetics.

Polica, Lille Vega, August 2013

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Article for The Copenhagen Post: http://cphpost.dk/concerts/newcomers-deliver-solid-if-underwhelming-show

Lille Vega

4 out of 6 stars

With the recently concluded Strøm festival still reverberating through the spine of the city, one would be forgiven for not knowing that there would be a memorable show taking place at Lille Vega tonight. Minneapolis synthpop quintet Polica (Polish for “policy”) are a critically acclaimed outfit who’ve been impressing quite a few in the music industry of late with their curious forays into the warped world of synthpop, with a slight touch of r & b for good measure. One of their admirers is non other than Bon Iver frontman Justin Vernon, who went as far as claiming that they are one of the best bands in the world.

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Minneapolis band Polica, Synthpop affiliates destined for the grand stage. Photo: Flickr

Performing in front of an almost-sold-out Lille Vega, Polica were slow off the mark, playing with an uncanny casualness that left the audience somewhat in limbo. Sound issues did their bit to exacerbate things, making for an edgy half hour opening, with a performance of ‘Dark Star,’ off their 2012 album Give you the Ghost marking a positive turning point. The song showcased the unique quality of lead singer Channy Leanagh’s coaxing, high-pitched voice, which lost itself eloquently in the immersive, labarynthine instrumentation that accompanied her vocals. More of the same followed, as Polica looked more comfortable on stage and interacted with the audience with a bit of very straightforward stage banter. ‘Wandering Star,’ also off the Give you the Ghost album punctuated the peak of the evening, with Leanagh’s vocals given leeway to run amok once more, this time against a backdrop of sounds that reeked with the unlikely dichotomy of immense pain and great elation all at once.

Unlike the studio versions, Polica’s live music features sparse use of vocoders, meaning that its gloomy attributes are hidden more subtly. This notwithstanding, many of the songs sound very similar and with the band rarely venturing into their more adventurous, electro-heavy ethic, the concert did have the look and feel of a taciturn Monday night show at times. Venturesome antics towards the end did change this however, with a song that had been written only a few hours before the show being played shortly before an encore that bore many similarities to the loud, distorted chaos of fellow synthpop band, Crystal Castles (albeit with less of a rough edge). All in all, Polica put in a good show last night though there are no doubt many areas for improvement. For a band with only one studio album they are, by their own admission “only newcomers” so expect them back sometime soon.

Stella Polaris, Frediksberg Have 2013

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A Stellar Show, As Always

“Welcome to the world’s biggest chill out festival” read the banner at the entrance to Frederiksberg have, the chosen location for this year’s Stella Polaris festival. Many harboured aspersions as to whether the new location would be quite as emblematic as the grounds outside Statens Museum for Kunst where the event has been held in previous years and indeed even after a wonderful spectacle today there are surely some who prefer the intimate feel of the “old” Stella Polaris.”

 

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Frederiksberg have gave a more spacious feel to the proceedings, which meant that the sound design had to be top-notch to ensure that the music circulated clearly across the vast expanse. Exceptional planning, clear communication and the presence of organised security ironed out any rough edges and made for a very pleasant festival location.

British deejay Rob Da Bank and Lulu Rouge were the undisputed favourites of the day, with the latter bringing the proceedings to a halt as is the case each year. Rob Da Bank’s set featured the sort of music one would expect at Ibiza’s cafe del mar, a haven for chillout music enthusiasts- with samples of the likes of Joy Division punctuating the proceedings. Danish chillout Don Lulu Rouge, now a permanent fixture in the brand identity of Stella Polaris closed things with a modest set that was more laidback than previous closing sets at the event, featuring tracks by Trentemøller, Sværd & Leth and Lulu’s own productions. Surprisingly, Dubstep and Reggae did not factor into the proceedings, as the broad dance area by the stage proved less adequate for dancing. This meant that Stella Polaris stuck to its chillout roots, with relaxing electronic music being the order of the day.

As usual, the event was crammed with numerous festival-goers of all ages and backgrounds, cementing its status as one of the most accessible festivals in the nation and even though the sunset was less epic this year, Stella Polaris remains one of the most impressive one-day events around.

 

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Tame Impala, Stor Vega August 2013

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Stor Vega 5 out 6 stars

Australian psychedelic dream rockers Tame Impala were on top form at their concert at Stor Vega last night. The Perth-based band are known for their eccentric forays into the hazy territory of psychedelic rock music, and having seen them perform last night, I can safely assert that this is one band that sounds just as good, if not better, live, a rarity in the modern day music climate.

Tame Impala went on stage to a sold-out, sweaty Stor Vega, under a backdrop of trippy visuals criss-crossing the stage in the shades of numerous colours. Guided by talismanic lead singer Kevin Parker, who went on stage barefoot, Tame Impala looked comfortable and at ease from the start, playing with a gentle, assured nature that enchanted more than it entertained. Signature track ‘Elephant’ was one of the first of many anthemic tunes of the evening, a night that traverssed elements of contemplative, dreamy content and jovial, unaccented moments alike.

Smooth transitions in between songs, particularly at the beginning of the show added a tinge of sophistication to the performance, which took on the feel of a live set rather than an incongruous mish-mash of songs strung flimsily together for the hell of it, as is the case with many concerts today. Further credit is due to frontman Kevin Parker, whose outside-the-box musicianship saw him use effect pedals connected to his guitar to good effect; creating symphony-esque layers of complex musical arrangements that danced harmoniously together, each verse adding a new dimension into the complex equation.

Adding to the experimental feel to things, the Australian quintet turned their backs on the audience midway through the show and strummed in synchrony with live visuals that were mimicking their quirky guitar plucks, gracefully slapping yet another touch of finesse to their performance.

Capping things off was one of the best stage exits i’ve seen; Tame Impala went off stage to the sound of a hollow drone vibrating in the background, before one of the band members came back with a torch, amidst wolf-like howls and encouragement from an audience that had hitherto been drab and boring (so kudos must be given to the one person brave enough to hold a lighter in the air during the show.)

One long encore later and Tame Impala left as they had came, exiting humbly, with the class and confidence of musicians comfortable in their element, flag bearers of the modern psychedelic rock movement.