Modeselektor, Store Vega Feb 2013

Berlin Calling: Modeselektor take Store Vega for a spin

Berlin’s Modeselektor showed just why they have shone so brightly on the electronic music scene for such a long time with a gig of epic proportions at Store Vega on Thursday night. Their stage antics were accompanied by a fascinating light show by visual DJ and design collective Pfadfinderei, a detail that added aesthetic genius to a brilliant musical performance.

Sebastien Szary and Gernot Bronsert got together in the early 1990s when Germany had just been shaken by the collapse of the Berlin Wall. They found gigs playing acid house and trance music to hordes of anarchic Berliners in a now-united city. Since then, the duo have gone on to produce music alongside the likes of the city’s ‘first lady of electronic music’ Ellen Allien and Radiohead’s Thom Yorke, who is a fan of Modeselektor’s experimental electronic sound.

As the lights dimmed following a warm-up set from Benjamin Damage, Szary and Bronsert appeared behind an instrument panel that resembled the complexity of a Boeing 747 cockpit. The duo got the flight off the runway with the bouncy track ‘Grillwalker’ off their 2011 album Monkeytown. After drifting into a monotonous ascent pattern early on with what seemed like a routine, pre-programmed track list, Modeselektor found their groove as the show reached its cruising altitude. The eager crowd was served a feisty series of heavily-edited singles and album numbers that got everyone going.

Modeselektor draw from a diverse range of musical influences, ranging from hip hop and glitch right through to driven techno. This eclectic background was made abundantly clear throughout the show. At one point, songs such as the pile driver-like ‘Kill Bill Vol 4’ gave the impression that one was at an early ‘90s rave in the Midlands of the UK. At other moments, hip-hop lyrics accompanied by fat, squelching bass lines were the order of the day, as tracks such as ‘Monkey Flip’, a 2011 single made in collaboration with Kenyan hip-hop artists Nazizi and Abbas, gave the crowd a break from its crowd surfing and mosh pits.

Midway through the show, Szary found the time and space to weave away from his instruments and towards the front of the stage, spraying the crazed front row with water. The trick was repeated later on by Bronsert, only this time with champagne, which seemed to do anything but cool down the eager crowd.

With the show coming to a close, Modeselektor eased towards land once more with a performance of the bass-heavy and soulful track ‘Berlin’. It had everyone swinging along and swaying from side to side, capping off a memorable return to Denmark for the veteran electronic musicians.

Wafande, Lille Vega Feb 2013

Thanks to Wafande, Natasja’s legacy lives on

Danish Dancehall, a music genre that has rocketed to popularity over the last several years, is steered by the soon-to-be-household names: Raske Penge, Klumben, Top Gunn and the stars of Saturday night’s sold-out Lille Vega show, Wafande and Kaka.

When the iconic Natasja Saad passed away tragically in 2007, many wondered if her flourishing reggae legacy would simply fizzle out into the narrative of Danish music history, or whether it would continue to live on. But six years on, Danish Dancehall is at an all-time high, vying for airplay on radio stations and making its way into festivals and concert venues with aplomb, as last night’s entertainment at Vega proved.

It took a while to get the ball rolling, as Bikstok Røgsystem’s frontman PharPhar gave a short, comical intro for Kaka who ran on stage beanie-clad and content. The eager crowd responded well to Kaka’s well-paced lyrics over a catchy beat and had scarcely begun to enjoy the show, three songs in, the show’s main act Wafande took to the stage.

Performing as if the temperature were up in the high 20s on a summer day, Wafande was quick off the mark, delivering a live version of his charged ‘Lang Vej Hjemme’ (‘Long Way Home’). The tune, an emotional reflection on cultural identity, ultimately sounds better on a CD at home than it does live, but it still had a powerful effect on the crowd, who sang wittily along to its anti-Dansk Folkeparti / Pia K lyrics. This was followed by the merry ‘Kom ned til Vandet,’ (‘Come Down to the Water’), a casual tribute to summer in Denmark that radiated through Lille Vega.

With his main tracks seemingly exhausted in the opening phase of the show, Wafande geared down and sung a few less popular numbers that gave the audience a chance to breathe before Kaka joined him on stage to somewhat reignite the show. Things livened up towards the end with a French retake of Sting’s iconic ‘Englishman in New York’ before ‘Giv mig et smil’ (‘Give me a smile’) rounded things off appropriately.

Having already performed earlier in the day at the same venue to a concert hall full of kids, Wafande was still sharp and cheerful come evening. If last night is anything to go by, he looks set to challenge the airplay dominion of pop and R&B in Denmark. Thanks to him, Natasja’s spirit lives on six years after that tragic evening in Jamaica.

Anna Rosenkilde, Ideal Bar, Vega Jan 2013

With Swedish garage rockers The Hives rocking it at Store Vega last night, one can be forgiven for not having noticed the much quieter singer-songwriter playing at Vega’s diminutive Ideal Bar at the same time.

Not really knowing that much about Anna Rosenkilde and her music, I turned up to a venue that was half-full at best on a wintry evening in late January. I was pleasantly surprised, though – Rosenkilde’s concert turned out to be an enjoyable Thursday night out and a fitting end to the month.

Kristian Harting and his 1966 guitar took care of the warm up duties and was backed by a brilliant sound technician who backed Harting’s steely vocals with a series of catchy loops and distortions and through a sequencer. Dream Jockey (Harting and his technician) played a short, disjointed set, consisting of ethereal vocal sequences layered dexterously on top of each other.

Despite having started off well, it all got rather complex and a bit too loud quite quickly. As innovative as he was, Harting seemed to be losing himself in the multiple echoes of his own voice and guitar strums. To be fair, this sort of sequencing could easily have worked well at a bigger venue with better amplification. The duo rounded off their appearance with a tune entitled ‘Queen of the Highway’, a song that drew on trip-hop and Sufi influences with a simpler sound compared to some of his more intricate sound arrangements.

Anna Rosenkilde then took to the stage shortly afterwards, looking confident in a green dress against the foreground of a couple of red keyboards. Her first few songs didn’t make that much of an impression, though she definitely found her pace when backed by a drummer, pianist and vocalist later on. She performed solo again towards the end and was more reassured and assertive, finding her stride with acoustic tracks such as ‘Blue Boat’, which was flanked by sampled sounds of waves crashing gently on a shoreline.

An obvious highlight of the show was the brilliant piano-backed cover of the English folk ballad ‘Scarborough Fair’, made famous by Simon & Garfunkel. Rosenkilde rounded off the proceedings with ‘Snowy Angel’, backed by a guitar player, drummer and pianist, before ‘Island’ put an end to the show, with its drearily optimistic contemplations of life after death.

All in all the show was nothing out of the ordinary, though it’s easy to see why Rosenkilde is regarded as highly as she is in music circles.