Hvalfugl "Bag vore øjne strømmer drømme sagte forbi" (2025)

Bag vore øjne strømmer drømme sagte forbi

udgivet: 24. jan. 2025

format: 2lp vinyl (gatefold)

[vurdering: 3,5 / 5] [3,64]

producer: Hvalfugl

selskab: Hvalfugl Music (selvudgivet) - nationalitet: Danmark

Studiealbum fra den Aarhus-baserede trio Hvalfugl, bestående af guitarist Jeppe Lavsen, basist Anders Juel Bomholt og tangentspiller Jonathan Fjord Bredholt, er en selvudgivet dobbeltvinyl. Albummet er både en regulær studieudgivelse og en form for opsamling, da albummet bygger på en kombination af fire individuelle EP-udgivelser: Bag vore øjne (nov. 2022), Strømmer (sep. 2023), Drømme (jan. 2024) og Sagte forbi (sep. 2024). Det er dog ikke en direkte summering af disse fire udgivelser. Albummet her tæller 25 numre, og summen af de fire EP’er er 26 – men 'kun' 16 numre er hentet fra EP’erne og spredt med løs hånd ud over albummet. Det betyder, at der er 9 nye kompositioner på dette album sammenlignet med EP-udgivelserne, og det kan derfor med rette karakteriseres som et studiealbum. En anden interessant detalje er, at trioen gør stor brug af improvisationer. På tre af de fire EP’er finder man kompositionen "Kaskader af glemsel" efterfulgt af et nummer, der indikerer tre forskellige variationer af samme nummer. Men netop denne komposition findes ikke på albummet i nogen af variationerne, og det illustrerer måske i virkeligheden, hvordan trioen arbejder med improvisation som en måde at skabe nye, unikke øjeblikke på, hvilket på mange måder også vidner om en naturlig sammenhængskraft gennem hele albummet.

Stilmæssigt bevæger Hvalfugl sig i moderne instrumental nordisk jazz med stærk indflydelse fra traditionel folkemusik og folklore – og man burde måske kalde det 'jazz-folk'. Jeg kendte absolut intet til bandet, før jeg overværede en koncert i min hjemby i det tidlige efterår, hvor jeg mødte op helt uden forventninger. Det stod dog klart fra starten, at disse tre herrer er mere end blot kompetente instrumentalister - de mestrer kunsten at interagere musikalsk og den svære balance i at komplementere hinanden og samtidig formå at skabe sjælden synergi.

Stor anbefaling.

[ Gaffa.dk 5 / 6, Allaboutjazz 4,5 / 5 stjerner ]

Rumpistol "Nebula" (2025)

Nebula

udgivet: 13. maj 2025

format: digital (10 x File, FLAC)

[vurdering: 3,5 / 5] [3,55]

producer: Jens Berents Christiansen

selskab: The Rust Music - nationalitet: Danmark

Udvalgte numre: 1. "Ascension" - 2. "Stargazer" - 3. "Nebula" - 4. "Pale Blue Dot" - 5. "Above the Horizon" - 6. "Celestial Awe" - 9. "Silver Seed"

Studiealbum af den danske elektroniske kunster Rumpistol, som er et soloprojekt af Jens Berents Christiansen, som har overlevet i mere end et par årtier, siden han udgav sit selvbetitlede debut i 2003. Siden det har Rumpistol udgivet en lang række albums og har deltaget i forskellige samarbejdsprojekter, herunder det danske eksperimenterende world music-band Kalaha. Nebula kan vist betragtes som Rumpistols niende regulære udgivelse, og på dette album har Christiansen inviteret flere gæstemusikere med, hvilket tæller: Sven Dam Meinild på fløjte, EWI, klarinet og sax, Maria Jagd på violin og bratsch, Emil de Waal (også fra Kalaha) på trommer, percussion og 'bowed metal', Helene Tungelund på keltisk harpe, Anders Stig Møller på bas og Anna Roemer på guitar.

Nebula er et instrumentalt album, som for mig har ligheder med tidlig Trentemøller - det er idm- og micro-house-elementerne - men det er ikke 'bare' et ekko af andre kunstneres værker. Der er tydelige originale træk og facetter fra Rumpistols tidlige udgivelser, og albummet er en repræsentation af en grundlæggende stilpalette, der ikke er rent elektronisk. Rumpistol har været omkring mange forskellige genrer og stilarter gennem årene, og i den henseende fremviser Nebula elementer fra så forskelligartet musik som syrerock, ambience og hvad der normalt hører til jazzens verden, og som altsammen er spredt ud og høres i højere eller mindre grad på disse ret forskellige kompositioner. Under tiden opstår der ligheder eller fragmenter, der peger mod tidlig elektronisk synthpop og ambience, men i essensen viser det blot Rumpistols mangefacetterede styrker som en original kamæleon, der gør brug af hvad end, musikken kalder på.

Det siger næsten sig selv, at det som et instrumentalt værk er musik til fordybelse, og det udfolder sig for alvor, jo mere man lytter til det. Og givet den korte tid, jeg har kendt til dette nye album, formoder jeg kun, at det kommer til at vokse på mig. Jeg kan lide det, det er stemningsmættet musik og virkelig godt. Og hvis du ikke kender Rumpistols værker, kan jeg kun anbefale, at man tjekker det ud. Projektet er lidt af en international hemmelighed, og jeg holder af album som Mere rum (2005), Away (2014), After the Flood (2020) og Isola (2022).

Anbefalet.

[ Nebula på bandcamp ]

Signe Svendsen "Hvem vil ikke elskes igen" (2022)

Hvem vil ikke elskes igen

udgivet: 14. okt. 2022

format: vinyl (LGLP2201) / digital (10 x File, FLAC)

[vurdering: 4 / 5] [3,86]

producer: Lars Skjærbæk

selskab: Lydia Gramophone - nationalitet: Danmark

Udvalgte numre: 1. "Tiden" - 2. "Du fik hendes øjne" - 3. "Hvem vil ikke elskes igen" - 4. "Sig at solen rejser sig" - 6. "Ville give dig alt" - 7. "Hun sagde det" - 9 "Lydia" - 10. "Uden aftale"

5th studiealbum af Signe Svendsen følger lidt mere end 2½ år efter Det forlyder (jan. 2020). Albummet er som alle hendes udgivelser produceret af Lars Skjærbæk, som også medvirker som instrumentalist på guitar, mandolin, synthesizer og som korsanger - hans yngre bror Troels spiller bas, og Lars' datter Sofie Juliane er ligeledes med på kor. Albummet er blevet til i selskab med en tæt række kendte musikere, som også inkluderer multi-instrumentalisten Christoffer Møller, som i øvrigt ofte har dannet musikalsk partner med Skjærbæk i deres roste producer-duo Mahler & Bir. Signe Svendsens eget selskab Lydia Gramophone er i øvrigt opkaldt efter hendes bedstemor, som også er centrum for den stærke "Lydia" (sang #9), hvor Svendsen gendigter noget af den barske skæbne bedstemoren gennemlevede.

Hvem vil ikke elskes igen følger i Svendsens melankolsk-stilede folk og ballade-orienterede singer / songwriter udgivelser. Svendsens pen er gennem årene blevet skarpere, og sangene her står mere personligt skarpt og passer virkelig flot i det musikalske udtryk der manifesteres her, og albummet fremstår ganske enkelt som Svendsens hidtil bedste. Det er et album uden overflødigt fyldstof og efter min mening, kandiderer det til årets bedste danske udgivelse.

Stor anbefaling.

[ Gaffa.dk 4 / 6, Politiken, BT 5 / 6 stjerner ]

Johnny Madsen "Godt nyt" (2015)

Godt nyt

udgivet: 25. sep. 2015

format: cd

[vurdering: 3,5 / 5] [3,58]

producer: Chief 1 (aka Lars Pedersen)

selskab: REO / Universal - nationalitet: Danmark

15. og sidste solo studiealbum fra Johnny Madsen. Indlægget her er lagt op på dagen, hvor det blev offentliggjort, at Madsen er gået bort, 4. nov. 2024 (73 år gammel). Albummet er det eneste af Madsens, som jeg købte kort efter, det udkom. Jeg var aldrig en kæmpe fan, men jeg nød virkelig meget af den musik, han lavede fra 1982 til 2015, og også i den holdbare trio Dalton sammen med Lars Lilholt og Allan Olsen satte Madsen et kvalitetsmæssigt præg på musikken. Jeg tror, jeg først lagde mærke til en af hans sange, efter han havde udgivet sit tredje album Chinatown, Yellow Moon og Den sorte fugl i 1987, da jeg faldt over titelnummeret og "Halgal halbal" – to sange, der fik en del spilletid i radioen. Jeg anså disse sange for at være yderst originale og ikke uden appel, selvom jeg ikke var den store fan af blues og simpelthen ikke var klar til hans til tider surrealistiske, originale tilgang til genren dengang. Hans opfølger Udenfor sæsonen (aug. 1988) var et nationalt gennembrud, og det er et album, der bragte flere klassikere med sig, inkl. titelnummeret, "Færgemanden", "Komadibovser" og "Tidlig mandag morgen". Med det etablerede han sig som en moderne kunstner med et usædvanligt stærkt, originalt bud på blød blues rock i en yderst original stil, og han var bestemt bemærkelsesværdig for sit øre for den lokale dialekt, krydret med stærke tekster og en ganske raspende sangstemme.

Godt nyt kan lyde som en upassende titel at vælge på netop denne dag, men med Madsens sans for det surrealistiske, en overflod af ironi og et talent for ordspil, kunne titlen være lige så god som enhver anden til at hylde hans begavede sjæl. Albummet giver os et modent og personligt blik på det moderne liv med velplacerede kommentarer til sociale medier, globalisme, traditioner og de små ting fra hverdagen - som en slags bånd til sjælevennen Dan Turréll. Jeg kan virkelig godt lide det her album. Det indeholder både gode hooks og velsmurte, kraftfulde arrangementer, men det har også en vis Lo-Fi-tone over sig, der får mig til at tænke på noget, der lyder som tidlige udkast på en organisk måde – som en ingrediens af autenticitet, hvilket er en kvalitet, jeg synes knytter sig til alle hans plader. Han efterlader os med en solid diskografi, som jeg er nødt til at dykke mere ned i, for hans musik er her stadig, og jeg kender flere af hans album, og de er bestemt alle værd at kende.

Tak for musikken, Johnny. Keep rockin'!

Illeborg & Lysdal "Hjertekamre" (2004)

Hjertekamre

release date: 2004

format: cd (APCD 60067)

[album rate: 3,5 / 5] [3,48]

producer: Jens Lysdal

label: ArtPeople - nationality: Denmark

Track highlights: 1. "Hjertekamre" - 2. "Kan ikke huske" - 3. "Den mælkehvide måne" - 5. "På må og få" - 9. "Alt kan gå i stå" - 11. "Paradis"

Collaboration album by the two folk and singer / songwriter soloists Laura Illeborg and Jens Lysdal. Admittedly, neither have taken up much space in my music collection, as I have always found it difficult to listen to Danish contemporary soft folk which mostly comes with bonds to a schlager genre I associate with kitch and an indefinable ingredient of something non-professional, which of course is completely ungrounded and also is an undeserved criticism. I have no idea from where that has its foundation, but when consciously approaching music you tend to reject, for whatever reason and all because of a judgemental position, not to forget (ugly) double-standards - meaning: the poorest reasons of all, then you should instead try to be more open-minded and focus on a want to dig out an understanding of the obvious qualities that many others see so easily.

The sudden death of Laura Illeborg early October this year made me curious about her music, as I simply had no idea of what she had produced. Illeborg only lived to be 55 years of age but she has made a solid list of releases in what I understand is a varied discography. Initially, she performed as backing vocalist on various releases for a vast number of artists from all genres and styles, and from 1996 as soloist - her debut album is Lyv mig natten lys (1996) - as collaborator, and featuring vocalist, she has long gone ensured her name in Danish music history. Jens Lysdal is likewise an artist who started out accompanying others, primarily as guitarist and backing vocalist, after which he initiated a solo career with A Matter of Time (1995). Lysdal is a multi-facetted musician with roots in jazz, folk, country, and everything in between and close by, and in company with Illeborg the two showcase a wide repertoire in a soft corner of contemporary Danish folk. And I do enjoy it. The album contains 11 songs of which nine have lyrics by Illebord and music by Lysdal. Track #8 is co-written by Lysdal, and the end-track is exclusively credited Lysdal, who also performs as multi-instrumentalist and as producer. Stylewise, you could label it ballads with elements from jazz, pop, and folk, and it's music arranged with a classic set of minimal instrumentation, focusing on vocal, electric (jazz) guitar, bass, percussion and a small doze of keyboard. It's music made with melancholy as a centre point but balanced with a lightness running through the whole album. Some songs stand more alone as quiet vocal performances, while others engage with more tempo without being uptempo arrangements.

Laura Illeborg performs with her strong original vocal, and she obviously masters the slow intimate parts as well as more uptempo pop variants. No wonder, she has a long record as featuring vocalist in the studio, and together, Illeborg and Lysdal appear like a strong duo. In Illeborg's discography, the album follows what may be regarded as her national breakthrough, the album Lidt in Love (2002), and it's succeeded by the well-received album God vagt (2007).

Hjertekamre is a solid and well-executed album in the soft corner of folk that should appeal to fans of jazz, ballads, and folk.

Søren Huss "Vi fik mere end vi kom for" (2024)

Vi fik mere end vi kom for

release date: Apr. 5, 2024

format: cd

[album rate: 3,5 / 5] [3,58]

producer: Søren Huss & Christian Balvig

label: Universal Music Group - nationality: Denmark

Track highlights: 3. "Sensommerdrøm" - 4. "Et støvet loop i inderste rille" - 5. "Langt ude, langt oppe, langt nede og langt, langt væk" - 7. "Kinddans" - 8. "Lyden af os under ét tag" - 10. "Stoledans"

5th studio album by Søren Huss following 4½ years after Sort & hvid til evig tid (Sep. 2019) is despite the time span an album of a familiar style. His 2019 album was in a way a final statement that his songs are eternally bound to both dark [sort] and light [hvid] sentiments. Some critics had early on directed some criticism to his blue-toned melancholic soundscape and Huss also made attempts in writing positive and lighter songs but he has made it clear that his musical tone is one of many blue notes. In that regard this only follows suit with his previous albums. It's music filled with harmony, light tones and uplifting moments AND it's nevertheless soothing with melancholy.

The musical expression is far from that of Saybia - only the vocal is familiar but that's how Huss primarily comes out on his own. All songs are credited Huss, and his backing band is a mix of stable instrumentalists. Guitarist Lars Skjærbæk has been aboard on the most recent three albums and bassist Morten Jørgensen and drummer Jesper Elnegaard have both been stable musicians on all of Huss' solo albums.

Vi fik mere end vi kom for ['We Got More Than Expected'] is by no means a poor collection of new songs, and in that regard it's a most fitting title in that it's also an excellent description of the album. The title is taken from track #5, which appears as the central song of the album. Huss stays on a safe path - he certainly has visited these roads before and some of the songs could easily be followed by older material without anyone finding it a disturbing change. Huss has never been afraid of narrating about his personal life and about existential crisis. He has found himself in a depressive state, which appears to be central to these ten new songs, and that theme is far from new to fans of his discography. That said, it's a return to his more minimalist songwriting as you'll find it on his first two solo albums. It's still an original sound with influence from folk rock and a whole world of balladry with a subtle touch of jazz. It's music for solitude, for rainy days and for attentive listening, and once you have accustomed and adjusted your expectations, it's like a cleansening bath in Autumn leaves.

[ Gaffa.dk 5 / 6, Politiken, Ekstra Bladet 4 / 6 stars ]

Solen Er Sexet "Solen er sexet" (2022)

Solen er sexet [debut]

release date: Jun. 3, 2022

format: digital (sPlotify)

[album rate: 2,5 / 5] [2,36]

producer: various

label: Cloudland Records - nationality: Denmark

Track highlights: 3. "Kyndelmisse kys mig"

Conceptual project album from Solen Er Sexet - here represented by a Danish music collective led by songwriter Lise Westzynthius and author and playwright Bjørn Rasmussen. Both are credited the majority of the songs here and both contribute as vocalists. The album feature a vast group of individuals, some of which have co-written the songs with Westzynthius and Rasmussen and participants count performers with aliases like HunBjørn, Solveig, GRO, Vakle, peachlyfe, Princess Waterfall, O/RIOH, alongside the following: Anna Brønsted, Frederik Valentin, Laurids Bruun Rørvig, Søren Bigum, Niels Gröndahl, Maria Laurette Friis, and Henrik Vibskov - the latter also took part in the Danish band Luksus together with Westzynthius. Producer credits of the individual songs seems based on the featuring 'guest(s)'.

Lise Westzynthius most recently released the album JA (Sep. 2018), which already pointed to a new focal point of her music, which I experienced as having a new-religous tone of naivety. This is indeed another leap into an extraordinary field of performative expression. I'm fully aware that the album has been met by some positive reviews from established national newspapers and music magazines. That said, I have been in doubt about how to meet this release. My first reaction was one of big surprise and something I found was a disbelief - both when listening to sheer musical qualities and then when confronted by the lyrics. Put together, there's undoubtedly musicality at stake. I think that's a most positive notion and probably the one I'm able to utter 'cause fact is, it's more extreme than good. In some ways, and without further comparison, it's a bit like what I experienced upon listening to Reverend Kristin Michael Hayter's SAVED (2023) in terms of an immediate sense of disbelief. And there's a lot of that going on when listening to Solen er sexet, which btw. translates to 'The Sun Is Sexy', and the end result unfortunately also include my personal rejection of the music, which it also did in the case of Hayter. Musically, it's mostly anything but challenging and completely held in a harmony-driven gear like someone who only hits the white keys on the keyboard. Lyrically, the songs reflect composer skills but not without a strong implication of not only simplicity but also a new age-/new-found-Christian-/new-nature-religious-like naivety. The whole music collective seems fully emerged in a nature-eros lifestyle, which oozes through music and lyrical content. Without pointing any fingers at the performing collective, they obviously represent and embrace non-binary and multiple sexualities; however, their common musical product here reek anything but deeper intellectual thoughts, which in many ways actually reflect the strongest asset but also, and that's most critical: it also imbellishes an amateurish approach that too often reminds me of what you would expect from a secondary school or high-school musical happening.

The songs are positive in subject treatment and even showcase creative, original rhyming phrases. And that's when focusing on a positive feedback regarding artistic intention, but most choruses, and even in the verses, the language is extremely naive and repetitious. "Skødesløse lænder", "Kom i mit smil", "Hej gud", "Heidi her", "Fiskes liste" are all hard to listen to because of downright amateurish language. To me, this is bad on too many parameters and frankly below mediocre. I think, I actually rate it higher only due to the positive starting point and the all-embracing vibes because how can you not welcome someone, when their only desire is to reach out and to preach peace, love, and harmony?

[ Gaffa.dk, Side 33 4 / 6 stars ]

Jan & Kjeld "Banjo Boy" (1959) (single)

Banjo Boy, 7'' single

release date: 1959

format: vinyl (1960) (TD 45 49)

[single rate: 2,5 / 5] [2,66]

producer: ?

label: Triola - nationality: Denmark

Tracklist: A) "Banjo Boy" - - B) "Mach doch nicht so viel Wind"

Single release by Danish duo Jan & Kjeld, who had an international hit with this song, especially in Germany, where they had started performing in the late 1950s with German schlagers, and also in The Netherlands where the single was released in '59. The Danish release came out in 1960 alongside a full-length album with the same title. The two siblings Jan and Kjeld Lennart Wennick first played on national TV in '57 after which they were promoted as musical 'wonderkids'. They had a few more hit singles in Germany, and they stayed to their style of playing popular covers of standards and schlagers. Their heydays were a ten-year period from their breakthrough and up around 1966 after which they kept touring for another decade before ending their engagements [ Danish wiki ].

This copy was part of my parents' record collection, and it was a single I used to play on a portable turntable at 6-8 years of age. It never was a single I found particular good - it was more of an obscurity, I think. 'Yes, they were kids and yeah, they knew how to play and sing, Okay. But it's not really that great'.

This is one of my very first music memories that wasn't purely children's songs, although, in this case: played by children.

👉 Another one from that earliest stage.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Evigby "John Tonic & metalhjertet" (2023)

John Tonic & metalhjertet

release date: May 19, 2023

format: digital (Soundcloud)

[album rate: 4 / 5] [3,77]

producer: Freddy Konfeddy et al.

label: Kosmokrator Records- nationality: Denmark

Track highlights: 2. "Sult" - 3. "Sober sæbeopera" - 5. "Skejs Kejser" - 6. "Pop Pop" - 8. "Flex" - 9. "Metalhjertet" - 10. "Narkosalg" - 12. "Mordersang" - 13. "Fra den sunkne bys slimede gader rejser den dekadente titan Mest Mefisto sig" - 14. "Phallos" - 16. "Enten eller" - 17. "Far"

Studio album debut by Danish hiphop and rap-collective Evigby led by songwriter and lead vocalist Laurits von Undall, who previously released music under the name of John Tonic. The album is in essence a conceptual album blending what appears as sci-fi storytelling put in a contemporary setting with focus on social awareness. It's by no means a traditional Danish hiphop or rap outing and it seems more directly inspired by various US hiphop and rap artists without being a mere copy. The lyrics are all held in Danish, and the music is hard to narrow in, but lyrics and music put together, really makes this an original cocktail. The music is first and foremost built on hiphop and it's electronically founded but there's nevertheless also a strong will to experiment with traditional rock instrumentation, which provides a refreshing mix of styles, although, the strong vocal performance never suggest anything but hiphop. Laurits showcases a natural ear for rap flow and rhyming, yet there's still focus on the aspect of linear storytelling. Some songs are executed via a mature sense for what works melodically and from a musical perspective, other songs are more one-dimensionally structured on a lyrical foundation. The narrative takes its starting point in John Tonic and his hood, their experiences with drugs and (easy) money, John's connection to the underworld, and then on another level the narrative reveals John's aspirations as well as parts of his upbringing and adolescence.

With John Tonic & metalhjertet, Evigby provides us with a refreshing new take on a Danish hiphop tradition, which expands boundaries with a new blend of styles. Ultimately, this collection of songs and the conceptual idea also points to what purpose it serves to put Evigby in any genre category - to cite Louis Armstrong freely: "there's no such thing as style - there's only good or bad!" And to tell you the truth: this ain't bad at all! What's a real shame though, is how the local and national radio stations' near completely neglect to play what matters instead of playing what some powerful labels and a few distributors think people oughta listen to. Another thing restricting a more solid distribution of the music by Evigby is the fact that the album has not been released for download or in any physical format, yet. The album exists in its electronic format only on Splotify, on blApple Music, and on Soundcloud, but it's really a mighty recommended listen and one of this year's most exciting Danish releases.

I'm really looking forward to wherever Evigby goes from here.

[ Gaffa.dk 4 / 6 stars ]

Ukendt Kunstner "Dansktop" (2023)

Dansktop

release date: May 12, 2023

format: vinyl / digital (11 x File, FLAC)

[album rate: 4 / 5] [4,04]

producer: Jens Ole McCoy

label: FortyFive / Universal Music - nationality: Denmark

Track highlights: 1. "Hena" - 2. "Dansktop" - 3. "Uden dig" (4,5 / 5) - 4. "Gran Turismo" - 5. "Fastelavn" - 6. "Kerosin" - 7. "Stjernekigger" - 9. "Hele dagen" - 11. "For livet" (4,5 / 5)

3rd studio album from Danish rap-duo Ukendt Kunstner follows more than seven years after Den anden side (Feb. 2016). To the regret of half a nation, the two artists announced the end of their project in late '16 despite experiencing massive success. After this, they both concentrated on solo projects. Composer and producer Jens Ole McCoy especially became renowned for his musical scores to movies but also continued as producer, and Hans Philip, who had been the voice of the band, released two acclaimed solo albums before they dropped the bomb: without any rumours or announcements they released this very album and simultaneously declared they were back! Out of nowhere!! Sneaky, sneaky... wonderful guys!

Not only are they now back, but of course they're back with a musical statement. They don't repeat their previous sucesses but come out with a new sound - it's so much part of their instinct not to repeat. Dansktop is in every sense an original album. It doesn't just play along other rap-artists' styles and sound. These two have made their name and continue in a league of their own, and it appears they (can) do whatever they feel like. The album still brings back bits of the groove from their two previous albums, it takes up some of the fragility from Hans-Philips' solo albums, and then it comes out as something new. There's a simplicity to it but also a will to explore and experiment, and in either or any case: they are near sublime. So many Danish rap and hip hop artists walk around the same bushes, do the same mixes, employ the same productions, but this is just original material. Loved it from day one, and it only gets better!

Highly recommended!

[ Politiken, Gaffa.dk 5 / 6, 👍Soundvenue 4 / 5 stars ]

2023 Favorite releases: 1. Anohni and the Johnsons My Back Was a Bridge for You to Cross - 2. Ukendt Kunstner Dansktop - 3. Sigur Rós Átta

<  show lyrics >

~ ~ ~
"Dansktop"

(Det gik op for mig, baby, nu' jeg-)
Dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og ligesom Hilda er jeg dansktop
Ligesom Campeotto
Tjek min konto, ja, det ligner, at jeg vandt i lotto

Baby, nu' jeg dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og ligesom Hilda er jeg dansktop
Ligesom Campeotto
Tjek min konto, ja, det ligner, at jeg vandt i lotto

Baby, nu' jeg dansktop
Ligesom Lille Per
Ligesom Pia Kjærsgaard og ligesom grisetæer
Jeg burde passe på min konto, men kan ik' la' være
For jeg' millionær
Og jeg kigger ik', hvad prisen er

Jeg' dansktop
Ligesom Birthe Kjær
Men de si'r, der' koldt på toppen, ligesom Isaberg
Men hvorfor snakker de om toppen?
Det' på toppen, at de ikke er
Det' jer, der prøver at ligne mig, jeg prøver ik' at ligne jer

Og I' helt okay
Ja, I' faktisk rigtig gode
I' bare ik' HP

Nej, jeg' dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og ligesom Hilda er jeg dansktop
Ligesom Campeotto
Tjek min konto, ja, det ligner, at jeg vandt i lotto
Baby, nu' jeg dansktop

At jeg var den største, har jeg vidst, siden jeg var bittelille
Men om skolen tænkte mor, "hvad skal det blive til?"
For jeg var god med ord, men ik' til matematikken, vel
Nu' livet letter' end en ti-tabel
Kan komme frem til summer ved at tie stille

Bare lad beatet spille
Ja, og det hele kom så pludseligt
Jeg var nede i minus, jeg' tilbage, jeg' i plus igen
Vendte om på ligningen, nu vil alle være Ukendt

Jeg blæser træer, ligesom en vind i skoven
Hun spørger, hvor jeg mon har det fra
Jeg si'r, "det' sendt fra oven"
Nej, dét, du har i venstre hånd
Det ligner estragon
Jeg si'r, det' Cali i næst' sæson
Gør, mine problemer, de er glemt i morgen

Hov, for fanden
Det' årets mand, han går på vand
Og drypper som en sovsekande
Er varmere end Corsica
Men det' vildt, ik?
Siden lille knægt var hans far pist væk
Men selv som spæd ku' han ik' græde over spildt mælk
Har tit tænkt, "sikke en tung smerte for sådan et ungt hjerte"
"At skulle undvære det smukkeste i verden"
"Nu' hans mor alene, kan hun mon bære det?"
Nætterne var sortere end skosværte
Jeg kigger op, slår korsets tegn og ryger blunten færdig
Åh nej, ung knægt, han var delt op i to
Et splittet atom
Så langt nede, at han mistede troen
Han græd tårer, som der glinsede i solen
Turde ikke engang hviske det til nogen
Så han lyttede ikke efter i skolen
Boede, hvor én, han fik en hård psykose
En anden, han døde af overdose
Det samme skete for overboen
Han plantede frøer, der ik' fik lov at gro
Han havde sig selv og så sin overtro
En sæk med tøj, ti smøger og en sovepose
Der' langt derop
Men vi ramte top
Ligesom Campeotto
Nu' vi dansktop
Ligesom Birthe Kjær
Ligesom Lis og Per
Ligesom Kjeld og Hilda er
Og det vildeste er
Vi gemte det bedste til allersidst, ligesom at spise dessert
...og så har jeg ik' mer'

~ ~ ~

Scatterbrain "Strip the Future" (1983), single

Strip the Future, 12'' single
release date: 1983
format: vinyl (neu 80-4405)
[single rate: 3,5 / 5] [3,32]
producer: Scatterbrain
label: Neuland Tonträger - nationality: Denmark

Tracklist: A) "Strip the Future" - - B) 1. "Diversity" - 2. "Angry Young Men"

Single release by Danish experimental electro-synth and synth rock band Scatterbrain following the release of the album Keep Dancing (Aug. 1981). The line-up has been expanded with keyboardists Jesper Ranum, who took part in the follow-up tour of the album release, and also with Michael Kastrup Hansen. For this recording, also Henrik Heigren and Anders Brill (from Kliche) contribute.
The single was originally released in '82 as a 7'' single on Irmgardz... with this 12'' single consisting of new recordings and new arrangements made for the German market. After this, the line-up changed again with Ranum leaving the band, and drummer Gorm Ravn-Jonsen (later in Gangway) was shortly a new member, then Anders Brill was promoted to new stable drummer togeher with Torben Kirkholt (of Næste Uges TV), and as the band then released its final album Mountains Go Rhythmic (1984) this was made with actual drummers, thus representing a change of sound, which in essence was what would later be labeled as industrial rock, and in that regard the band has as an important part in shaping new stylistic foundation somewhere in the outskirts of new wave and synthpop.

Love Shop "Blues Europa" (2023)

Blues Europa

release date: Oct. 13, 2023

format: digital (10 x File, FLAC)

[album rate: 3,5 / 5] [3,55]

producer: Mikkel Damgård

label: Risiko Records - nationality: Denmark

14th studio album by Danish project Love Shop is yet another ambitious chapter in the band's long and winding career. The album showcase the familiar mix of melancholic tunes and lyrical depth that has come to charachterise Love Shop on their most recent albums. It's garnered with a original sound and with thought-provoking narratives, which just seems to stick to the profile of project-leader Jens Unmack.

Right from the start, you sense the special nostalgic mood and that unique reflectiveness Unmack is so sharp on. These new songs only miss some of the potent power of a recognisable touch and the album does feel less impactful compared to their last three albums. The predecessor, Levende mænd i døde forhold (Oct. 2021), was perhaps most notable for its lyrical depth and together with Brænder boksen med smukke ting (Mar. 2019) and Risiko (Mar. 2017) this trilogy all showcase well-crafted arrangements and emotional weight, cementing these as vintage years and also as some of the band's finest records. Blues Europa doesn’t fully replicate this tendency with the fourth in a row, though lyrically strong, it lacks some originality that are the trademarks of the predecessors.

On a national scale, the album has been met by what appears as universal acclaim, and as I do feel that it certainly provides a strong listen with tracks reflecting on themes of European identity and where the ambition is clear, I just sense that there's something in the execution that feels forced, making parts come out more like statements rather than a genuine musical journey. For all its minor flaws, Blues Europa still showcases fine moments, reminding fans why they love Love Shop in the first place. There's no big surprises in that regard - perhaps there's a sensation of going down well-known paths that makes it too evident, in a way. In the end, though, it's still an album worth exploring, especially for loyal followers of the band, who will probably see it as a confirmation of sorts, even if it doesn’t quite live up to the standards set by their recent works. I'm a bit doubtful about a conclusive grade, as I have come across some very positive reviews, and still, I'm not a convinced fan and have so far settled my mind on 3,5 out of 5 stars, as I feel that it doesn't reach the level of the most recent three, which in the end puts it more alongside Kærlighed og straf from 2014.

[ Gaffa.dk, Politiken 5 / 6 stars ]

Scatterbrain "Keep Dancing" (1981)

Keep Dancing [debut]

release date: Aug. 1981

format: vinyl (IRMG 3) / digital (10 x File, FLAC) (2005 remaster)

[album rate: 3,5 / 5] [3,68]

producer: Scatterbrain, Anders Lind

label: Irmgardz... / Glorious Records - nationality: Denmark

Track highlights: 1. "Neo-Love Tango" - 3. "Vatican Reggae" - 4. "Crosses of Verdun" - 6. "Ice Age" - 8. "Insect Danger" - 10. "Keep Dancing!"

Studio album debut by Danish band Scatterbrain originally released on Irmgardz... The band here consists of founding members Jesper Siberg on vocals, keyboards & electronic percussion, Hilmer Hassig on guitars & synths, Jens Erik Mose on bass & synths, and Morten Torp on vocals & synths. Despite only releasing two albums, Scatterbrain has quite a substantial legacy in Danish music history, where the band stands as forerunners and as the first actual synth-rock band coming out on the punk rock scene.

In retrospect, the band appears influenced by Joy division and to what was perceived as a growing art punk scene at the time counting artist like Magazine, Visage, Gary Numan, and Ultravox and apart from these musical contemporaries it also seems that artists like King Crimson, Brian Eno, and Kraftwerk should be included amongst the band's natural sources of inspiration. This also include inspiration from artistic ideas of visual arts and authors, and Scatterbrain build on cold war politics and a de-humanisation of society, which is also reflected in some of the aforementioned artists' music (with bonds to David Bowie and Lou Reed) and also a similar starting point of contemporary Danish author Michael Strunge and his poetry, e.g. "Skrigerne" (1980) and "Vi folder drømmens faner ud" (1981).

Keep Dancing came out to positive reviews but the band and its music didn't attract a wider audience and Scatterbrain was first and foremost a cult-like band. In retrospect, however, Keep dancing and the band's second album Mountains Go Rhythmic (1984) both stands as highly original releases with the debut as an album that has found status as a cornerstone in modern Danish rock-history.

At the time, I came across the debut and I kept an illegal copy of the record, which I both found challenging but also quite fascinating and unforgettable, although, I also saw it as strange and too experimental for my liking. Many years later, as of 2023, I got hold of the original vinyl issue, and it's definitely an album to know of.

Recommended.

Papir "7" (2022)

7

release date: Jan. 14, 2022

format: digital (4 x file, FLAC)

[album rate: 3,5 / 5] [3,55]

producer: Lars Lundholm (rec.]; Troels Bech [mast.]; Papir [mix.]

label: Stickman Records - nationality: Denmark

Track highlights: 1. "7.1 (part I-III)" - 2. "7.2" - 4. "7.4"

7th studio album by Papir following close to three years after VI (May 2019) is the band's third album on Stickman. This new album comes with four compositions and with a total running time at nearly 41 mins. The first track - consisting of three parts - is by far the longest with a running time at almost 20 mins, whereas the three remainders are all well under 10 mins each. Also being released on vinyl, the first track takes up all of the A-side, with the three shorter tracks filling the B-side, it seems natural if all three would have been labelled '7.II (part I-III)' - but they're not. Perhaps the band just think of them as too different, or they want to have you ponder in the dark?

7 is yet another instrumental journey within a post-rock universe but it's also something new to this trio as dreampop-founded AND without the space rock characteristics. Track "7.3" is literally ambient, and that's taking it a bit too far for my taste, but they have successfully tuned down on the fabulating instrumental excess and instead found a calm and slow evolving progress, which to me, sounds as an improvement.

In my ears, this is bliss and it's also the band's so far best album.

[ bandcamp ]

[ 👉SputnikMusic 4 / 5 stars ]

Eee Gee "Winning" (2022)

Winning [debut]

release date: Feb. 25, 2022

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,76]

producer: Rasmus Bille Bähncke

label: Future Classic - nationality: Denmark

Track highlights: 1. "Favourite Lover" (4 / 5) - 2. "You Don't Have to Tell Me It's Over" - 5. "Contraband" (live session) - 6. "Bad Person" - 7. "Love Hurts" - 8. "Winning" - 10. "All or Nothing" - 11. "Killing It" (4 / 5)

Studio album debut by Danish act Eee Gee [stylised 'eee gee'] aka Emma Grankvist is virtually a debut-out-of-the-blue. I first listened to the song "Favourite Lover" and then "Bad Person" without knowing anything about artist or nationality, and I remember thinking it must be yet another one blending Lana Del Rey and Billie Eilish, although still doing that quite nicely. But after realising it's music by Danish songwriter Emma Grankvist and upon listening to the whole album, I have to admit it's much more than a copy and quite a remarkable achievement. Why hadn't we heard about her before? And speaking of influences, I also found it's waaaay too simple to mention the aforementioned two American stars as only sources 'cause there's also traces of much else. There's a tongue-in-cheek (Lily Allen-like) presence and songs that are stronger singer / songwriter or alt. folk related that reminds me of Cat Power or Sharon Van Etten, or was it Ane Brun leaning on Joni Mitchell? And then why even compare?!

The album has a total running time above 45 minutes with songs written by Grankvist, and most of the music is co-composed with producer Bähncke. Granted, this may not be highly original, but it's a most powerful collection of personal songs produced in high-end arrangements. Yes, there's influence and traces of others, but looking at the whole picture instead, this is simply one of the strongest Danish debut albums in years.

Highly recommended.

[ Politiken, 👉Soundvenue 5 / 6, Undertoner 4 / 6 stars ]

Blaue Blume "Country" (2022) (single)

Country, single

release date: Sep. 9. 2022

format: digital (1 x File, FLAC)

[single rate: 4 / 5] [3,88]

producer: Blaue Blume

label: HFN Music - nationality: Danmark

Tracklist: 1. "Country" (4 / 5)

Single release by Blaue Blume and the band's first actual release Bell of Wool (Nov. 2019) except from the remix of "Loveable" - the first by Trentemøller (released Feb. 2020) and one by Emil Rottmayer (released Mar. 2021). Since that album and in the span of the most recent months the band has been reduced to a trio following the leave of guitarist Robert Buhl Jensen, who then leaves behind a band consisting of vocalist Jonas Smith, guitarist & bassist Buster Lassen, and with Søren Buhl-Jensen on keyboards & drums.

"Country" has so far only been issued in digital format, and the song is a laidback and quiet track with traces to Talk Talk with a certain jazzy quality and with elements from country and progressive pop, and with the pompous production of Blaue Blume in behold. It's beautiful and heartfelt, and it still shows the band's great potential. The single may be found on the band's bandcamp-profile.

Marie Key "Lys finale" (2022)

Lys finale

release date: Feb. 11, 2022

format: digital (10 x File, FLAC)

[album rate: 4 / 5] [3,78]

producer: Bremer / McCoy

label: Sony Music - nationality: Denmark

Track highlights: 1. "Vinter" - 2. "Tænk" - 3. "Stråler" - 5. "Lys finale" (4 / 5) - 6. "Stille måne" - 7. "Verden" - 10. "Festen"

6th studio album by Marie Key following the album Marie Key (Oct. 2020) saw Key in an attempt to take up the success from her first three solo albums with producer Andreas 'Maskinen' Sommer, and although the album produced a small single hit with "True Love", that album wasn't part of top-40.

Lys finale is easily her most quiet album to date. It's produced by contemporary Danish jazz-duo Bremer / McCoy (bassist Jonathan Bremer and pianist Morten McCoy), and all tracks are co-composed and arranged by the duo, and the end-result is far from the art pop and synthpop-fused predecessors. Stylewise, this might go as indie pop with a strong touch of jazz pop, and most tracks have near minimalist arrangements where bass and a delicate keyboard often are only instruments backing Key's vocal, which is accentuated strongly.

A first listen had me think it was daring and far from expected but I quickly found it a quite strong release. It's not filled with hit material nor sing-a-long choruses, and it's primarily the most stripped down songs that work the best - and it's Key's delicate narration that really lifts the album, which in many way also calls for a native or at least a Scandic audience, as all songs are in Danish, but this isn't a new trait to Key's music. The big difference is that Lys finale is a jazz-breed and it's one of Key's absolute best albums. Imho, this is Key's second best to date and thus highly recommended.

[ Berlingske 5 / 6, Politiken 3 / 6 stars ]

Kalaha "Hahaha" (2014) (live)

Hahaha (live) [debut]

release date: Sep. 1, 2014

format: digital (9 x File, FLAC) (RUMPLP016)

[album rate: 3,5 / 5] [3,52]

producer: Troels Bech Jessen (sound engineer)

label: Rump Recordings - nationality: Denmark

Tracklist: 1. "Spejderrobot" - 2. "Allahabad" - 3. "Assymetriader" - 4. "K-Sounds" - 5. "Ellas Drager" - 6. "Amar" - 7. "Klap" - 8. "Amnesia" - 9. "Atacama"

Debut album by Danish electronic experimental quartet Kalaha is the live recordings stemming from Red Roof Jam, at the rooftop of DGI Byen, Copenhagen at STRØM [Festival], on Aug. 15, 2013. Kalaha is a colourful act made up by the two, primarily, jazz instrumentalists, drummer Emil De Waal and guitarist Niclas Knudsen [here nicknamed 'Ibrahim Electric') together with the two electronic musicians Rumpistol (aka Jens Berent Cristiansen) and Spejderrobot (aka Michael Elkjær). Together, they explore a combo of jazz and electronica with obvious inspiration from world music and afro beat, and on this debut, they showcase their talent for improvs based on music stemming from each of the members own back catalogue.

Giving the musicians' various starting points and the fact that these compositions are all improvs, Hahaha works surprisingly well - basically showcasing how musical talent will perservere regardless the form, and then of course: both jazz and electronica are genres that include an experimental approach per se.

Kalaha would later release the actual studio album debut Masala in 2016 and the band is definitely worth checking out with Hahaha standing as a promising start that later would be consolidated with a series of studio releases. Mystafa (Mar. 2021) appears to be their most recent album.

[ Purchase the album here ]

Trentemøller "Memoria" (2022)

Memoria

release date: Feb. 11, 2022

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,82]

producer: Anders Trentemøller

label: In My Room - nationality: Denmark

Track highlights: 1. "Veil of White" - 2. "No More Kissing in the Rain" - 4. "Glow" - 5. "In the Gloaming" - 7. "When the Sun Explodes" - 8. "Dead or Alive" - 9. "All Too Soon" - 10. "A Summer’s Empty Room" - 12. "Drifting Star" - 13. "Like a Daydream"

6th studio album from Anders Trentemøller follows 2½ years after the fine Obverse (Sep. 2019) and the album has been launched by a series of official videoes - firstly by "In the Gloaming" and later by "All Too Soon", "Dead or Alive", "No More Kissing in the Rain", and "Like a Daydream".

The album is highlighted via its melodic universe, although, the album is quite untraditional from the hands of Trentemøller as a predominantly vocal-founded album. Stylewise, it's more predictable situated in the outskirts of the 80s and 90s nostalgia linked with his very own electronic homeland. Memoria is the sound of shoegaze / dreampop à la Slowdive and Mazzy Star with drops of Robert Smith (The Cure) guitarwork as heard on the Disintegration-era mixed with Robin Guthrie (Cocteau Twins) reverb, and in this manner he sort of continues where Obverse ended, and simultaneously he applies something new. The big difference is that the 2019-release appeared more introspective and closed on progressive instrumental variations, whereas Memoria lurks on the verge of darkness - at times jumpping straight out into the daylight floating away on light tones of Robin Guthrie-inspired loops. And just that may be the newest 'trend' from Mr. Trentemøller - that instead of finding inspiration from the murky corners of the post-punk-era, he now adds a synthpop-soundscape from other areas and by doing so, he also creates a distinct cocktail of his own. On this, Trentemøller has made use of the two Danish guitarists Silas Tinglef and Lisbet Fritze, with the latter also featuring on vocal. The end product is a more coherent collection of compositions compared to what Trentemøller normally ends up with. It's a new touch with which he combines a pervasive flair for micro house and synthwave that ultimately displays his so far best studio album to date.

Highly recommended.

[ bandcamp ]

[ Gaffa.dk, musicOMH, PopMatters 4 / 5 stars ]

Love Shop "Levende mænd i døde forhold" (2021)

Levende mænd i døde forhold

release date: Oct. 1, 2021

format: vinyl (first edition incl. 7'' single) / cd

[album rate: 3,5 / 5] [3,64]

producer: Mikkel Damgaard

label: A:larm / Universal - nationality: Denmark

Track highlights: 2. "The Troubles" - 3. "Kun længes skygger mod aftenens fald" - 6. "Ægte Nordic noir" - 10. "Exitstrategi" - - 7'' single, A 1) "Andy Warhol's piger"

13th studio album by Love Shop following 2½ years after the album Brænder boksen med smukke ting (Mar. 2019), and the album (as well as band) is primarily the product by songwriter and vocalist Jens Unmack and keyboardist and musical composer, arranger, and producer Mikkel Damgaard, who has been an official member since 2011, although, he's taken part in the project since 1999.

The title of this new album translates to "Men Alive in Dead Relations", and death does play an everpresent part in this band. Firstly, it was a figurative presence when the band's main composer, guitarist, arranger, and producer Hilmer Hassig decided to leave the trio back in late 2003. It was a devastating decision that resulted in a practical disbandment - they couldn't possibly continue, and the disbandment was a reality. Together, they planned a farewell tour, still executed in late 2003. Hassig then settled as studio technician, arranger, instrumentalist, and producer, while Both Unmack and keyboardist / backing vocalist Henrik Hall initiated independent solo careers; however, after Hassig became the victim of a drive-by incident resulting in his sudden death in late 2008, Hall and Unmack initially reunited as Love Shop to honour their friend for several memorial concerts in 2009. The positive experience of playing together again led them to revive the band, and to write and compose new material, which saw the light of day with Frelsens hær ['Salvation Army'] (Nov. 2010). Death's ugly face appeared again when Hall died Jan. 2011 - following years battling with cancer, and then as opposed to ending their common revitalised life-project, Unmack instead decided to continue Love Shop, although, he is the only remaining member of the original line-up. The following album Skandinavisk lyst ['Scandinavian Lust'] (Oct. 2012) both honours Hassig and Hall and simultaneosly lights a torch of life in what appears as the strong will to carry on. In spite, and not to succumb.

Levende mænd i døde forhold is then of course with reference to those who are here. In the band Love Shop, it's Unmack and Damgaard, and perhaps it's not to be taken too literal, but the title suggests that despite seeming alive, you can may still live your life with a presence / an implication of something that appears dead. This could be an ever-present sensation of people playing a major part in your life - it could also be taken more literal, suggesting your personal relations appearing dead.

Nevertheless, Unmack and Damgaard have proven to have much to offer. Their songs are not surprisingly often dealing with existentialism, and Unmack is forever bound to a Scandic melancholy. He would probably refer to it as "Nordic noir" - something in the DNA of people of the North, which may be found in the works by Hammershøi, Krøyer, Grieg, Sibelius, Munch, Bergman, Von Trier, Björk, Brun, Kent...

The album seems like the second chapter to the 2019 album, not as a copy, but more as the very essence of a sound that has become grounded in the name of Love Shop on its now most recent three albums, starting with Risiko from 2017. I find that the new album is very much in the spirit of the former two - not that it's a lesser work of art, it just feels more like a condensation, an album that doesn't show us something new, but more as new angles on the same view, which can both contain surprises as well as recognition of what we already know.

Not their best, but still far from their lesser works, and definitely worth the price. And then, I absolutely just love the inclusion of a 7'' inch bonus single stressing that vinyl format is very much alive.

[ Gaffa.dk 5 / 6, Politiken, Berlingske 4 / 6 stars ]