• Good show by Tim Hecker

    12 fév. 2012, 22h11m

    Wed 8 Feb – Tim Hecker was great. Played all the major hits including Chimera and The Piano Drop and a third one i cant remember the title of. Good venue for it. No light show, only a few candles that i heard was extinguished (due to bass organs?).

    The side-show-DJ could have played less techno, but i appreciated a Basic Channel track and a Chris Watson track, so thats fine.
  • Brilliant new Tarwater album

    15 oct. 2011, 15h51m

    Just stumbleduppon the new album Inside The Ships by Tarwater in a real record shop, and i actually bought it. No preview on illegal mp3 before buying. Long time since i did that, and wasnt disappointed. They still sound as they should - not much have changed since Animals Suns & Atoms. Clearly a good thing.
  • Jamie Lidell - Compass

    25 avr. 2010, 22h24m

    I recently read a review of the new Jamie Lidell album - Compas in the wire. The review promised more of what i previously had loved about his work, and missed since Muddlin Gear (2000 on Warp) and his Super_Collider work. Namely the rough improvised electronic soul mayhem he also pulled off live at the time, like at Sonar by day (~2004).

    A little bit more Daddy's car, please!

    I was disappointed when i heard Compass, even though i had lowered my expectations after seeing endless viral videos, of hasty recording sessions with lyric workshops featuring very professional musicians coaching with Jamie. As usual, i am open to the fact that i just havnt listened close enough for a lyrical revelation. I should say i consume music first, lyrics later. But having seen how his live improvisations could turn excited ramblings into the sweetest dance floor fillers (including women!) worthy of Tresor without much more thought than 'lets fucking have it', i doubt there are much more than meets the ear in these lyrics.

    Sonar craziness

    What meets me are expressive vocal performances, mixed/mastered incredibly loud (isnt British production just louder than other?) and a modern studio, used essentially for the same as when recording Mustang Sally.

    I dont understand why a musician that plays like what i saw at Sonar, is not recorded and published like that. I realize most studio work is done differently these days, but take for example an influence on this as close as Motown - songwriters would write a tune; A&R would find a performer for it and an engineer would record the performer using microphones. I hope some day a live record will come out with Jamie Lidell in his early 2000 style. Any bootleggers our there holding some?
  • Rechenzentrum at Radiohuset, Copenhagen, November 2008

    8 nov. 2008, 12h41m

    Fri 7 Nov – Wundergrund

    Great event. Shows started on time - an underrated quality of today i think. Minimal, but good and fairly priced bar. Again i suspect this, and the booking of these particular acts, was achieved thanks to the involvement of Jakob Weigand Goetz - manager of the Kontur label, and whom has organized countless well structured and generously funded events.

    Excellent venue obviously - it was in a studio in the old Radio Corporation building of Copenhagen, with wooden/marble walls. This place should be used for things like this more often!

    Nice performance by Marc Weiser + contemporanea. They had decent but slightly monotonous visuals by Robert Seidel. This property was okay given the 4 piece band consisting of percussion including vibraphone, violin and a bass clarinet (looks like an oversize saxophone), which at times sounded a bit too much like a free jazz elephant for my taste. And of course Weiser on laptop and guitar - a recently acquired discipline for him, mostly known for the minimal noisy MPC programming of Rechenzentrum. The visuals was an elegant blend of hyper digital DivX-glitches and organic optical flows that fit nicely to the music.

    Missed Frank Bretschneiders show, but he did a nice DJ gig after the concerts.
  • A Few Great Cuts, Or: The Thing That iPods Are Made Of

    19 jan. 2008, 18h30m

    Printer pops up on yet another year end list - this time from Philip Sherburne. Addmittedly, they are a bit down the list under the point "A few great cuts...", but still, we are happy with that.

    Blonde Redhead, 23 (4AD)
    Caribou, Andorra (Merge)
    Pluramon, The Monstrous Surplus (Karaoke Kalk)
    Printer, I Can Take More (Statler & Waldorf)
    Robosonic, Sturm Und Drang (Undercoverart)

    Check the full list here.