Let my heart bleed into the morning light

Let my heart bleed into the morning light

And my feet fade before me

The disappointments of my life are but the perils of expectation

Dreaming of equality

In a world plagued with fear

My life, my parents, my dreams

Tanned, tainted visions of illusions of utopia

Where every man, woman and child are equal

In the humble eyes of nationhood.

Let my heart bleed into yours

And take me for a joyride through your centric tantrums

Your waylaid passions, your ingratitude

I once loved an idea, once cherished a passion

Strung from the chords of my bewildered soul

Now all that’s left are red shards of flesh

Hammered against the fading horizon

And you’re happy where you are

Save for a few make-belief regrets

Sympathetic plumes in an inferno of destruction

My thoughts waylaid, my wit purged

Dulce est decorum est

For the wits of the world and the science of inequality

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Dan Thatsme Interview

Meet Dan Presencer, the youthful face behind DanThatsme, an ambitious singer-songwriter who’s trying to make a career writing and performing songs, as he looks to carve his niche in the musical landscape of the modern day. Somewhere at the swaying crossroads between Jeff Buckley and Joni Mitchel, DanThatsme is now a something of a fixture on the local singer-songwriter circuit. But the former Camden town lad has plans that extend beyond the borders of wonderful Copenhagen. Here is Dan’s story: (photo credits: AmK) 

AmK : “Dan Thatsme. Who is that ?”

Dan: “DanThatsme.” “I wanted to have a name that was really simple without it really meaning anything.” “I didn’t want to have a name like Cloudy Sunday or something like that.” “I wanted something very straightforward without any connotations.” “I wanted all of the focus to be on my playing and my music- nothing else.”

AmK : “And you play as part of a trio here in Copenhagen now.” “Could you tell us a bit about that ?”

Dan: “At the moment i’m playing with a trio, and i’m on the guitar, vocals and writing myself.” “I’ve got an amazing bass player, Dan Peter Sundland who is Norwegian and lives in Berlin and comes over here for gigs.” “He is an absolute burner, whilst being very tasteful, very giving and very thoughtful.” “There’s also a young drummer who is up and coming on the Copenhagen jazz scene, Rasmus Meyer.” “He’s a fantastic guy, fantastic player – really committed.” “It’s a privilege to have them both in my band and when we play it’s a lot of fun.” “Sometimes I play with another up and coming jazz saxophone player called Ollie Wallace who is a burning bee bop player who plays solo lines and backup harmonies on the sax.”

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A seasoned musician.

AmK: “How long have you played music for ?”

Dan: “Since the age of four.” “I took violin lessons initially but I was never really into it.” “From the age of nine I started singing in choirs.” “If you google my real name you can find me on a CD as a soloist when I was 10.” “We sang really complex songs and toured the world quite a bit so it was serious stuff.” “My voice broke and I stopped singing in a cathedral choir and I got a guitar at around the same time, aged 11.” “I really got into it and got bored of playing standard stuff.” “I wanted to play material that was as harmonically complex as what I sang in the choir and I wanted to be able to do it on my own as opposed to with the choir.” “This is what drove me to branch out as a guitarist.”

AmK: “You come from a strong tradition of musicians and artists in your family- your dad is a famous jazz trumpet player and your mum is composer.”Does this create any pressure on you as a musician ?”

Dan: “Yeah my dad, Gerard Presencer, played the trumpet combination in the famous Cantaloupe record, aged just eighteen.” “He’s a busy, successful jazz trumpet player.” “When I was still in my mum’s womb she was a very active classical flute player so even before I was born I was exposed to high level classical music.” “My granddad is a trombone player and he played in Woody Herman’s band and under Frank Sinatra’s big band so I was brought up with music around me, jazz especially.”

It does create a bit of pressure- it’s one of the reasons behind my artist name, DanThatsme – I don’t want to tarnish the family name.” “I quit music when I was 20 and thought, sod this – I wanted to have a real job but I tired of it pretty quick and came back to it.” “It’s also really useful though, to have such influential musicians in my family.” “I have very high standards and a discipline that comes from them – I don’t have some sort of naive dream about what the music industry is.” “My parents are musicians, my grandparents are musicians, all of my family friends and the people I hang out with a kid- all of their parents are musicians, so from a very early age I knew what the reality was and how things work.” “When my parents come to my performances I get very nervous because I know they’re judging me, not as a parent, but as colleagues.”

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From Camden town to Copenhagen

AmK: “You now live in Copenhagen, having grown up in London, Camden town to be more exact?”

Dan: “Yeah, well I lived in Camden town and I worked in a few places – When I stopped playing for a few years I got into bikes and I worked in different bike shops.” “I worked in a shop on Great Portland Street and in another in Euston and I loved it.” “I loved bikes but I got a bit bored and broke up with a girl which left me at the crossroads.” “My parents live here and I love Denmark so a move seemed logical.” “I told them I was thinking of working part-time and getting back into music and they said “sod that, come live with us and you don’t have to worry about rent or buying your own food and you can practice everyday. ” “My dad would give me lessons in the mornings; i’d go into the cellar everyday and practice for a long time.” “I came here with a vision of being a man for hire- playing in somebody’s band or something of the sort but I got back into songwriting again and sort of branched out on my own.” “My mum suggested that I go to an open mic and play as I didn’t know anyone here in Copenhagen, which I nervously did…”

AmK : “Was that the Juke Joint at Modjo’s `?”

Dan: “It was at Blågårds Apotek actually.” “The Juke Joint was a bit later.” “I went to Blågårds and the legendary Benjamin Aggerbæk put me on.” “I played a few songs and made some friends really quickly and the process sort of repeated itself as these things tend to do.” “The emphasis went to writing and practicing my own songs rather than doing covers, which meant that my songwriting skills grew a fair bit.”

AmK: “If you were to describe your music, is there any particular genre you think it falls under ?”

Dan: “Well, I guess people would say pop though I would say it’s more a combination of things that I like, things that I take inspiration from.” “I remember listening to Jeff Buckley aged fourteen over and over again and thinking “This guy is just the best , I love him !” Joni Mitchel is another big influence – I got a copy of “Blue” at around the same time I started to listen to Jeff Buckley (fourteen-fifteen) which is also the same age that I started to write songs.” “I listened to them both on repeat and I’d say they came to influence a huge part of my music.” “I have a thing for the letter J actually- if your artist name starts with the letter J then you know you’ll be successful- Jimi Hendrix, John Mayer, Jeff Buckley, Joni Mitchell, Jill Scott , who I named a song of my own after (Better at home)”

AmK : So you’re a J Junkie is that it ?

Dan: “Haha yeah, you could say so.” “It’s difficult to say who one’s influences are really- I have periods of absorption really, where i’ll listen to one thing for a few weeks all the time and then move on to something else.”

AmK: “Would you say that you’re the traditional singer-songwriter type then ?” “Or is there another dimension to Dan Thatsme ?”

Dan: “Well there’s different types of singer-songwriter people.” “I’m not a Bob Dylan type for instance- I was never really a fan.” “However I sing and I write my own songs and I play them so yes, I am a singer songwriter even though I don’t think it helps my audience to view me as such.” “It can be limiting as a description of me because it pretty much describes every guy with a guitar – there’s an awful lot of songwriters which makes it hard to stand out.”

Amk: “It is hard to stand out. What about your songs, what sort of themes do you sing about ?”

Dan; “My songs are all about women (laughs) They are all about women !”

Amk: “All of them ?”

Dan: “Yeah, bar maybe one which I never play.”

Amk: “Is that one about a guy then?”

Dan: “It’s about a man, yeah, this massive guy.” “No, they’re all about women.” “I find relationships and women really inspiring.” “I could easily play a whole set of songs just about my current girlfriend.” “With music you can say things that you can’t really say in real life.” “I have three and half minutes to speak my mind without getting interrupted (laughs)”

AmK: “Yeah there’s a forum for it, isn’t there ?”

Dan: “Indeed, and you can always brush it off and say “It’s just a song, nothing more you know?” “It’s also something that people can relate to and it’s really cliche to write songs about women but it’s what I do.”

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More than just music

Amk: “So now that you’re settled in Copenhagen, what’s next for you ?” “You give guitar lessons in your free time, what does this bring to your musicianship ?”

Dan: “Yeah I’m settled here now and I love Denmark.” “I had to work out a way of making some money when I first moved here.” “Initially I wanted to work in bike shops, so I made a CV documenting my experiences as a bike mechanic and sent an email to pretty much every bike shop you can imagine and I got nothing back, which was disappointing as I am a good mechanic.” “So my mum gave me one of her GCSE students who needed a few lessons.” “He was in a very safe place for me to learn how to teach music.” “One student turned into two and that turned into three and now I have around twenty to twenty five weekly students.” “Some are beginners and some are pretty good.” “It’s inspiring to start someone’s career in music and I think that my enthusiasm and love of music comes off through my teaching.” “It also keeps me on my toes- I have some students that are really good and who inspire me when it comes to composing my own material.” “It’s easy to get stuck in a rut when you’re a musician so having students that ask tricky questions or come up with interesting, inspiring chord combinations helps.”

Amk: “You’re set to play at a music festival in Italy soon too, tell us a bit about that”

Dan: “My band and I have been booked to play at the Ferrara music festival in the Northeast of Italy.” “I’m really looking forward to it- traveling with two really good friends who happen to be in my band and some other good friends will be playing at the festival too.”

AmK: “It’s your second festival, having just played at Nakkefestival, Does this give you more confidence ?”

Dan: “It will actually be my third, as I’m playing at the Copenhagen singer-songwriter festival just before so by then i’ll be a seasoned festival player (laughs)”

Amk: “What would you say the challenges are when it comes to being a musician ?”

Dan: “I find it hard to practice everyday- to remember to keep fresh, even though I love doing so.” “I love finding new ways of playing, new ways of understanding music and so on.” “It’s my passion so i’m really lucky that I get to do so as part of my job.” “There are challenges to every job; you have to work out what your niche is and what you can do to make a living.” “There’s also more to being a musician than just the music, even for established musicians – they have to do interviews, photos, charity work and so on, some of which may not necessarily be interesting but that is nonetheless a part of the job.”

Amk: “Which brings me to one of my last question.” “Where do you want to go with DanThatsme, where will you be in a few years time ?”

Dan: “For the moment it’s going great.” “I have a fantastic band and the songs keep coming.” “My goal as a musician is to do something new.” “My thought process is to add new approaches to the rhythm and nature of my music whilst still sounding pleasant.” “I don’t mean like making squeaky door contemporary classical music- It’s about crossing between genre lines and being myself.” “I would like to have recorded my album in a years time here in Denmark.” “I’d like to be playing more gigs and to more people, to a broader audience.” “I just want to play really and see how it goes.”

Find Dan’s music on his Facebook page :https://www.facebook.com/DanThatsme?fref=ts

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When The Ways of This World Have Run Their Course

When the ways of this world have run their course

And the plumes of the twilight no longer flicker

When there is no wicker left to burn,

No stratosphere to scatter

When my red heart is in a million pieces

Strewn beautifully across the serene earth

When there are no lines left to write

And no lies left to tell

When the stars lie dead and morbid in the blank sky

When evil has run its course, raped robbed and pillaged every last wit

And the pillars of your dreams come crashing down in the wind

Remember remember, that last burning ember, the power, reason and delight

You all once had a shot in this fight

Friends to love, families to adore and yourself to endure

And that there was a time when the ways of this world were meek and mild

 

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Futility

 

With the wind in your face

And the times that we cannot erase

You looked at me from a wonderful place

At the cusp of your midnight haze

The dawn of a futile embrace

The death of a decadent phase

 

 

Inspired by the work of Sixto Rodriguez, aka Sugarman and Charles Bradley- who kept up the fight when all was lost and forlorn

Adieu Adagio

Adieu my friend, adieu my heart

You are far away dreaming,

As the sun sets in the withering distance

And I find myself alone

With the wide world of enduring beauty before me

With the stars by my side

And the evening wind on my cheeks

I once loved you and you loved me back

We danced and smiled and cried

Dreamed in a land faraway

Of make-belief plains and grand plans

A serene adagio in the rain

My tears are the only raindrops that dance on this plateau now

Inspired by David Lynch’s “The Elephant Man” A tale of John Merrick

 

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Kraftwerk Roskilde Festival Orange Stage (Last show) July 2013

German precision, but little passion, from festival’s closing act

Electronic pioneers Kraftwerk offered a 3D spectacle, but Roskilde’s decision to have them close the Orange Stage was nothing short of bizarre
Cyborgs in a computer world


July 7 at Roskilde Festival, Orange Stage

To say that electronic music pioneers Kraftwerk are a band whose influence on modern music has been tremendous would be a gross understatement. The German quartet have inspired acts such as Blondie, Joy Division and Depeche Mode in a 40-plus year career that has seen them carve a name for themselves in the annals of electronic music.  They had the honour and challenge of being the last act to grace the Orange Stage at Roskilde this year.

Kraftwerk stepped onto Orange for what would be an engaging two hours through some of their best known content. Cementing their unique form of musical artistry, their live show was aided by free 3D glasses that were worn by most of the 60,000 or so revellers who showed up for the festival’s final big show in a scene that resembled a cult gathering of anonymous cyborgs gathered before the four stage silhouettes of the Kraftwerk quartet. The show began in a modest manner as a series of robotic tracks performed in the backdrop of a bewildering 3D show that added a creative interactive element to the performance.

As things progressed and the sky turned dark, Kraftwerk stepped up their game and delved deeper into their repertoire of driven, repetitive tunes, all the while backed by 3D visuals that contained numerous references to European culture and history, such as the Cold War conflict. A welcome break to the generally monotonic drone of beat sequences and synthesiser stabs came in the form of a lengthy performance of their ‘Tour de France’ track, which was flanked by excellent visuals that highlighted the cultural symbolism of the annual cycling event.  Lighter, more ephemeral beat foundations ousted the heavy, structural patterns that punctuated the better part of the show. This was a short-lived occurrence, however, as the robotic, alienated structuralist beat patterns returned all too quickly. In fact, whilst the show did indeed play on the themes of human alienation through technology, it appeared that Kraftwerk themselves seemed too alienated from the audience during their performance.

A lack of footage of the musicians in action behind their instrument panels was partially to blame for what seemed to be an unfortunate lack of interaction between the artists of stage and the crowd. Similarly, Roskilde’s bizarre decision to choose Kraftwerk as their closing act must be queried.

Having seen the likes of Coldplay and Björk do their bit in the past to leave Roskilde Festival attendees with an emotional overload of epic, memorable moments, It was something of a disappointment to leave the Orange Stage after a performance that left many in search of the essential elements expected of a closing act.

Efterklang, Roskilde Festival Arena July 2013

Danes deliver music for the contemplative at heart

Original article at: http://cphpost.dk/culture/roskilde-2013/danes-deliver-music-contemplative-heart

 *** (3 out of 6 stars), July 6 at Arena

Roskilde’s third day of music is in full swing and the festival is ablaze with a brilliant orange feeling, aided no doubt by the soaring temperatures and the adrenaline-laden air of anticipation ahead of Metallica’s concert at the Orange Stage later tonight, which should be the apt antidote to many a Roskilde fan who may feel somewhat conned by pop diva Rihanna’s presence at a traditional rock festival.

With the sun high in the sky, I managed to catch Danish experimental indie rockers Efterklang at their afternoon show at Roskilde’s Arena stage.  Rasmus Stolberg, Casper Clausen and Mads Brauer are the charming trio behind Efterklang, the Danish word for “remembrance” or “reverberation,” both of which are abundant throughout the band’s music and live shows.

A dreamy show start that consisted initially of an almost purely vocal intro that soothed the crowd gently into the Efterklang ethos set the tone for what was never going to be a dance-friendly concert. Efterklang wooed the crowd with a blend of arty, contemplative content that, truth be told, is more at home on film scores and abstract art installations.  For their fans though, and there were many, this seemed to be exactly the sort of poetic respite they’d been waiting for after a week in the primordial conditions of Roskilde Festival. Many simply shut their eyes and swayed gently to the celestial, ruminative combinations that Efterklang wove together with the elegance of a swan on still water. It was however apparent that others were all but bored by the afternoon’s proceedings, which perhaps didn’t match their expectations or band stereotypes.

Midway through the show, and with the crowd comfortably entranced, Efterklang gave a polite and well-versed thank you to the crowd, that soared above the usual “we love you all so much and this show is so special” routine cliche that too many musicians tend to embrace all too often. Efterklang complimented their gentlemanly gratitude by handing out festival memorabilia from their recent performance at a Dutch music festival before steering the show into its closing stages with a casual performance of ‘The Modern Drift’ one of their well-known tunes.

The still, almost dull silence present at the start of the show culminated in a colourful, complex end that had the crowd clapping and swaying in approval after a relaxing, soothing concert by Efterklang, who were performing for the fourth time at Roskilde.

Of Monsters and Men, Roskilde Festival Arena July 2013

Of Monsters and Men **** (4 stars out of 6), July 5 at Arena

When Icelandic chamber pop maestros Of Monsters and Men performed on Danish soil for the first time last September at Store Vega, there were not that many people who had heard of the band and fewer still who defined themselves as fans.

Fast forward a few months. Roskilde Festival is kicking into gear on its second day and the event is alive and awash with a cheery vibe to suit all tastes. Of Monsters and Men are the third act of the day to perform on the Arena stage and the first to open the evening’s merry making.

The Icelandic quintet opened proceedings with the sun high in the sky, playing a set that consisted predominantly of songs off their 2012 debut album My Head is An Animal. Rather surprisingly they opted to unleash one of their marquee tracks ‘From Finner’ very early into the show, which was initially not that well received but by the end of it all had become an essentially catalytic element that set the tone for what would be a memorable evening.

In similar vain to ‘From Finner’, it took time for Of Monsters and Men to well and truly woo the crowd, but once they did, they had the concert in the palm of their hands, playing with a musical mastery that complemented the uniqueness of their folk-influenced music.

Similarly, as was the case with last night’s final show at Arena by American psychedelic trio Animal Collective, poor acoustics at the start of the show tainted things somewhat, as lead singer Nanna Bryndís Hilmarsdóttir seemed to struggle to make her potent vocals heard.

The acoustics did improve however, and with the crowd enjoying themselves as much as they were, Of Monsters and Men went all in and unleashed their signature track ‘Little Talks’ at the peak of the proceedings, much to the delight of the partisan crowd who danced and shouted with approval.

This and ‘Mountain Sound‘, another banger off the same debut album, underscored Of Monsters and Men at their best, an act who took up the baton from chamber pop pioneers Edwarde Sharpe and The Magnetic Zeros and popularised a genre of music that may well become a familiar fixture on the global music stage.

Animal Collective, Roskilde Festival Arena July 2013

Teetering on the brink of sheer genius

As something of a wildcard in the concert lineup, experimental band Animal Collective were always bound to cause a slight bit of controversy or turn out to be sheer genius, or perhaps do both. Animal Collective, or simply AnCo as their fan base affectionately term them, stepped on as the last act on Roskilde’s Arena stage and after a slow start wound up delivering what will surely be one of the most seminal concerts of this year’s event.  The boundary-breaking trio were in peak form throughout a concert that ventured into the dreamy, contemplative territory frequented by the psychedelic enthusiasts from Baltimore.

Animal Collective stepped on to an ornate stage, colourfully adorned and laden with elaborate stage props that magnified the presence of the trio quite.  A weave of trippy visual effects interspersed with adroit if not abstract tunes for the first half hour or so set the stage for a concert that grew in personality as the minutes ticked.

Such was the experimental feel to Animal Collective’s opening that many would be forgiven for losing interest in the concert from the word go. An over-zealous approach and poor sound were to blame, yet remarkably the trio from Baltimore were able to dynamically and eloquently erase any poor first impressions with a performance that peaked in its closing stages.  Improved acoustics midway through the proceedings certainly played a part in this, though credit is due to the creativity and boundary-pushing musical ethos that competently underscored the better part of the show. Animal Collective veered between sounding like the path of a raindrop in a thunderstorm to a drum set in an ethereal  catacomb, a juxtaposition that evidenced their creative genius. Each song in their hour and half long set was built from the bottom up, generating a beautiful psychedelic sequence of layers that unfolded into picturesque musical soundscapes that piqued the imaginative character of everyone present. The show ended with a stage that was awash with a myriad of colours from the captivating light show, backed by passionate, experimental sounds provided the imaginative, hard-to pigeon-hole feel of Animal Collective.

The band produced one of the most artistic, creative concerts that this reviewer has come across and will surely carve out a name for themselves in Denmark after a performance of magnanimous stature.