Dec 082015
 

SWEDISH ELECTRO SCENE fb page presents it’s new compilation “Swedish electro vol 3”.
The compilation released on Saturday December 5th and it’s available for free dowloading.
It contains 63 tracks in total by artists like Machinista, SPARK!, Train To Spain, Vogon Poetry, Hearts of Black Science,Red Cell, Candide, Chaos All Stars, Presence of Mind, Denormal,Delaykliniken,KAOS!, Social Ambitions and many many more.

Dec 072015
 

logo

Five years after her last release, Band Ane managed to foster her creativity through an awesome rural recording studio she made in the forest of Rold Skov, Denmark. Such a location is already very inspiring, but Band Ane made it the launch pad of her imagination and creativity, the result being an “organ room” with four large harmoniums, filling her archives with plenty of analogue tapes, new vinyl’s and old lacquer discs and placing many instruments and sound sources on the huge table in the attic. She squeezed her juicy reveries in the “Anish Music Caravan” album, the daydreaming collection that she recently made for Clang. It’s a sonic creation that is going to let your imagination flow by means of an impressive set of (more or less unusual) instruments: piano, zither, guitar, saxophone, bells, Nord Lead, computer, analogue tape, AM radio, record player, hearing aid, Dictaphone, clocks, tools, motorcycle, cart, birds, frogs, insects, rain, snow, ice, books, leaves, trees, fences, trains, boats, pans, pots. and shoelaces!


interview picture 1Chain D.L.K.
: Hi Ane! How are you?

Band Ane: That’s a good question. I’m pretty busy in my new motherhood spaceship role. I’m being a mom and musician at same time. Finding myself again. I’m light years away from the five years caravan time capsule travel, where time is almost on hold, and I was inside that hold. Super curious though where this new life situation will bring me. I am thinking of leaving planet earth for my next release.

Life is pretty chaotic these days. Caring for my 10 month old baby – took a flight yesterday to play at a concert in Copenhagen. I then immediately came back again, threw my luggage on the floor and nursed the little one. I feel lucky that I have those huge contrasts in my life, but I must say that I crave to make more music. Looking forward to bursting the balloon and starting to create and compose. By then, I will know how I am or how I’ve been.

 

Chain D.L.K.: Compliments for your new release on clang. Before talking about it, could you tell our readers more about your path in the music world?

Band Ane: My sonic adventure… Where shall I start? From when I was little I played the piano and recorded the music on tape recorders. Again and again… Modestly, I played what I saw outside the window. It could have been the weather that I played, or a silly theme to accompany one of the persons who walked by.
I released two other records before Caravan. They are really different from each other. Caravan is by far the most different from the others. Much of it is the sound of the earth without any people. Maybe they’ve gone to Mars, maybe they have mutated into something else. But there is still human garbage, leftovers, telling a story. Like one of the places I’ve been making up in my head, the Caravan. When I was a kid, we used to call it the witch house. It was totally covered with ivy (the green, coiling plant). An old lady lived there. When I moved back to this area, she died and no one came to take her stuff. A man on the same dirt road a kilometre from there bought the place. He wanted the wild nature around it for hunting. I asked if I could have my studio in the house and he said yes. I’ll never forget the first time I was there. Always wondering what it was like inside. And the funny thing was that it was totally different from what I imagined. I was like walking into the fawn’s home in Narnia. It was very warm. I found a perfect spot upstairs, in front of a huge window. I got rid of the ivy and then had the best view of the forest and the lake, as the wild nature appeared. There were weird lamps inside, animals made of fake gold holding the lightbulbs, art, books, old furniture. She also had an old radio which I used a lot on caravan and a wood stove that I lit up every day. This was the beginning of my investigation of abandoned places. Afterwards, the places came to me and made music with me. The place I choose to make music is crucial. I have to move around a lot. Every piece I did is connected to a place, a view and the feelings it gives me.


interview picture 2Chain D.L.K.
: And how did the thickets of Rold Skov influence your compositions?

Band Ane:Living in the forest; it’s like being inside a progress, because you really see how it changes. Life is a progress. I think it is easy to forget that here, in the city. Here it is easier to immerse yourself.

 

Chain D.L.K.: Can you describe the place where the more recent music by Ane was born?

Band Ane: I grew up in a collective of twelve families. We ate together every evening. I had a lot of children to play with. We had our own playground where the grown-ups were not allowed. We built tree houses and subterranean paths. My father had a great vinyl collection with classical music, but also pop, jazz, electro acoustic, psy-rock and minimalistic stuff such as Terry Riley and Steve Reich. I remember being put to bed and listening to the music my father played until late imagining what was going on and fantasising about it.

 

Chain D.L.K.: With reference to one of my favourite moments on your album – “Wolves In My Trash Can” -, did you meet any hungry wolves that tried to quench their hunger in your dumpster?

Band Ane: Yes. There were wolves in my trashcan.

 

Chain D.L.K.: Another favourite song that came out of your “caravan” was “Robin Hood Horn”, whose motif reminded me about the portrait of another “romantic” thief like Lupin, due to its French nuance. What’s the source of inspiration for that lovely track?

Band Ane: Oh! haha! Lovely picture you had in mind. I was sitting in the karlekammer (as we call it in Denmark) – it’s a small room that used to be a barn – and I just found a horn that looked like it had been Robin Hood’s. I played it and the music started to brew.

 

Chain D.L.K.: Where did you take the vocal samples you inserted in “Offpiste”?

Band Ane: I’m really glad you asked! Because those samples mean a lot to me. They were taken from some old reels recorded by an old movie sound engineer from Denmark, called Ole Askmand. He was cleaning up his loft and called me to ask if I would be interested in all his reel recordings. I was like: Yes, of course! He only knew me from a radio interview and thought that I was the person that could use them, recycle the sounds – give them a new meaning. For me, using sounds that have a story or mean something to me – memory, association, story; that makes so much sense. Especially in this fast-forward ever-growing technical world.

interview picture 3Chain D.L.K.: Another lovely song on your album is “9520 DK, At Night”. How did you build this track?

Band Ane: It’s complicated 🙂


Chain D.L.K.
: I’ve read the list of instruments you used for this album. Shoelaces? How did you play them?

Band Ane: It was because I wanted to record the sowing of a thread for “Inside the Knitting”. But I didn’t have recording equipment that could capture such a sound. So, instead, I enlarged the sowing thread and used shoelaces through the shoelace hole to play the role of sowing threads 🙂

Chain D.L.K.: Are you going to bring “Anish Music Caravan” on live stage?

Band Ane: It is on stage, here and there. The Caravan would also love to go to Germany anytime soon. It just needs an invitation.

 

Chain D.L.K.: Any work in progress?

Band Ane: Yes. Soon I have a release coming out with some really good Danish jazz musicians. And me, myself, I’m brewing some stuff that I will have to keep to myself for a while, if the spell will last. I hope that it will not be five more years.

Visit Band Ane on Sound cloud at:
soundcloud.com/band-ane

Listen to and buy Band Ane’s “Anish Music Caravan” on bandcamp by clicking here

All photos are courtesy of Band Ane.

Dec 072015
 

logo

 

I recently had a nice conversation with Bertram Denzel and Erik Huhn, better known as Denzel+Huhn, a couple of Berlin-based sound artists whose music is really outstanding. An adjective they also used to define some of the collaborative tracks they put on their recent album “Brom”, which came out with Marsen Jules’ imprint Oktaf. I warmly recommend listening to this remarkably elegant declension of electronics, featuring the touch of well-known German drummer Ronald Lippok (Tarwater, To Rococo Rot), Ralf Bokelberg (who plays guitar in two of my favorite moments of the whole album, “Demuth Johnson” and “Asid Trei”), flutist Sascha Friedl, trombonist Florian Juncker, Sebastian Vogel (piano), Thomas Kurstner (vibraphone), Bettina Bruns (alto), Naftali (hang + violin), Manuel Miethe (guffinette, soprano saxophone) and Brad Hwang (nose + gramophone).

 

interview picture 1Chain D.L.K.: Hi guys! How are you?

Denzel + Huhn: Fine, thanks for asking. Hope you’re also good!

 

Chain D.L.K.: I’ve known you since the times of “Time is a Good Thing”.

Denzel + Huhn: Congratulations!

 

Chain D.L.K.: I don’t know why I matched that record to the carefreeness that someone experiences when he/she’s an university student and really doesn’t care about future. The first two years of university – let’s leave it like that! Besides that great debut release, would you say that time is a good thing?

Denzel + Huhn: Definitely, because we take our time and make something out of it. Music and kids for example. So, yes, time is a good thing.

 

Chain D.L.K.: Do you like to give a shape to the present, past or future in sound?

Denzel + Huhn: We don´t know exactly what you want to hear from us. If it´s about the musical background, here`s the rough story: We tried making almost all sorts of improvised music. Influenced by nearly every style of music, we realized that the only way to “survive” was the reduction in the number of sounds we made.

 

Chain D.L.K.: Can you tell us something more about the birth of your musical/artistic/human friendship?

Denzel + Huhn: Yes we can. The birth of our human and, as a consequence, artistic friendship too, happened because we were introduced to each other in a Café at Checkpoint Charlie in Berlin, in the early nineties. Bertram was a friendly crockery cleansing operative on his way from rags to riches and Erik was a self-conscious makeup artist who survived the GDR.
Because we both still had no clue about why and how to get onto the escalator going up, we spent time playing instruments. Now, we´re almost married and sometimes we can even see ourselves in an Italian theatre box – like these two old guys from the muppet show.
 You know; we´ve seen it all. And we still like ourselves.

 

Chain D.L.K.: Why did you call your project “Denzel + Huhn” instead of “Bertram + Erik”?

Denzel + Huhn: Gee! We have much cooler last names, don´t you think?

 

Chain D.L.K.:How would you describe your relationship with sound in your everyday life?

Denzel + Huhn: Together we have four ears and go through everyday life in double-stereo or quadraphonic. That’s why we recorded the sounds of nearly all of our kitchen tools and all objects you can find in a household. Lots of sounds find their way to our work.


interview picture 2Chain D.L.K.
: I guess you know the artistic side of Berlin very well. Many Berliners consider it the real capital of musical innovation and the ideal habitat for music innovators. I share their view. Would you say that something changed in Berlin over the years?

Denzel + Huhn: Sure, quite a bit. Lots of things are changing, especially since Berlin had so many empty spaces to be filled with creative people, since the early seventies.
We feel pretty touched by some of the multiple changes and sometimes we feel like right in the middle of the cyclone´s eye.

 

Chain D.L.K.: Do you agree with those who label your music as “abstract” or “minimalist”?

Denzel + Huhn: Well, we´re fine with being labelled that way, what the hell. But in our latest work, we also see a lot of concreteness and opulence.

 

Chain D.L.K.:Compliments for your new album “Brom”. You offered a very good musical experience to all those who listen to it.

Denzel + Huhn: Thank you, glad you liked it.

 

Chain D.L.K.: Any piece of advice for them before pressing the play button in order to enjoy it at the max?

Denzel + Huhn: Take some time and a seat. Get a drink. Place the sign “do not disturb” or “sorry! we are closed” clearly visible on your door. No gadgets on, no social media, switch off your mobile. Or put your best headphones on and listen to Brom while you take a walk on the pedestrian area in Dortmund.

 

Chain D.L.K.: Why “Brom”?

Denzel + Huhn: We simply like the mellow sound of the spoken word “Brom” and maybe we`re kind of distantly related to it. The special thing about Brom is that it is a chemical element which cannot exist on its own. It always needs to be connected with other elements. Beside this, it is healthy to speak the word “brom” because the yoga-om in it lets your body to vibrate smoothly.

 

Chain D.L.K.: I’ve read the introduction of your album by Thaddeus Herrmann. Very nice, but have you asked some clarification regarding the match with human bottom outputs?

Denzel + Huhn: What the heck? We don´t see the point. No, we never asked Thaddi for clarification about the match with THE REAL SHIT. We are really sorry, but for a satisfying answer we have to refer you to Mr. Herrmann in person.

 

Chain D.L.K.: What’s the connection between the lovely opening track “Wilhelmshöhe” and the homonymous lovely park near Kassel?

Denzel + Huhn: Sorry again, but there is no noteworthy connection. Erik once saw an open air NENA show in that lovely park near Kassel and Bertram only knows the lower-in-taste rail station from driving past it.

interview picture 3Chain D.L.K.: The musical marks of some of your guests on “Brom” is clear, but they managed to measure their tracks without altering the sound. Is it intentional or not?

Denzel + Huhn: Well, the album “Brom” did not come to existence by accident, so most of what you hear on it is intentional. Our guests were recorded by us during massive sessions in Bertram’s supersonic kitchen, before we laboriously extracted and filtered out all the wonderful sounds we got.

 

Chain D.L.K.: Is there any collaborative track that you liked more than others or you feel it was a real masterpiece? If so, why?

Denzel + Huhn: We think they´re all outstanding!

 

Chain D.L.K.: I’ve seen a couple of videos of tracks taken from your album – the above mentioned “Wilhelmshöhe” and “Demuth Johnson” -both of them are somehow related to means of transportation. Why this kind of match?

Denzel + Huhn: Transportation and movement in motion and a kind of repetitive music get along quite well. There was no concept at all. We simply liked the pictures, even if the Chemical Brothers made their famous video a few decades ago.

 

Chain D.L.K.: Any funny moment during the release you held on 20th September in the Berghain Kantine?

Denzel + Huhn: Yes. Our guest drummer, Ronald Lippok, didn’t show after we begged him to come on stage for five minutes. Foolishly, we announced him while playing pretty loud, so he couldn’t hear us. Finally somebody found him backstage talking to our other guest musician, Manuel Miethe. They both got lost in time and space and the absent voice of Bettina Bruns, our guest who was terribly sick in bed instead of on stage with us. We felt so funnily helpless and alone out there.

 

Chain D.L.K.: According to some voices, Mr Jules is somehow picky. Maybe for his strong sense of aesthetics. Is it true? 🙂

Denzel + Huhn: We`re not really sure about that rumour, but we are quite choosy, too. So it fitted pretty well.

 

Chain D.L.K.: Any work in progress?

Denzel + Huhn: Yes, our requiem. It’s called Bertram + Erik. Future unfinished classic.

 

Visit Denzel + Huhn’s Soundcloud online at: soundcloud.com/denzelundhuhn

All photos are courtesy of Denzel + Huhn.

Dec 012015
 
 G L I C E L I X 

LIX, the debut album by Amsterdam noise experimentalists Glice is officially released today. It can be downloaded and streamed on all common platforms, including but not limited to:

Up to and including 7 December, recipients of this email can also download LIX for free via WeTransfer:
Glice will celebrate the release of their debut album with a live performance on Saturday 12/12/2015 in De Ruimte in Amsterdam. Full details here.
More information on Glice can be found in the attached biography.
Inline afbeelding 1
 
– tumblr – bandcamp – facebook – soundcloud –