BY:LARM
NEWS Friday 15. February 2013
Cold comfort
Efterklang’s arctic world melts by:Larm’s heart
THE HivES kaizErS orcHESTra ulf lundEll wiTcHcrafT kvElErTak [SE]
[SE]
[SE]
kadavar nikkEby lufTHavn THE bon bonS blóT
[dE]
billETTEr KJØpes på
eller på posten, narvesen og 7-eleven
daGSPaSS: 699,- HElGEPaSS: 1399,-
I DØra: Dagspass 775,- / Helgepass 1500,-
for flErE arTiSTEr oG mEr info SE
Bukta – Tromsø Open Air Festival er Nord-Norges største rockefestival. Festivalen ble arrangert første gang sommeren 2004 og er godt etablert som arena for lokale, nasjonale og internasjonale artister. Festivalen er i vekst og hadde i 2012 en omsetning på ca. 11 millioner og nærmere 15 000 besøkende. Neste års festival vil bli arrangert 18-20 juli 2013. For mer info: www.bukta.no
Vår festivalsjef skal gå over i ny stilling internt. Vi søker derfor ny
FESTIVALSJEF i 100 % stilling.
Festivalsjefen skal • Være festivalens øverste leder og ansikt utad • Lede festivalens medarbeidere og frivillige • Ha ansvar for festivalens markedsarbeid • Rapportere til festivalens styre
For å gjøre jobben trengs det • Gode lederegenskaper og forhandlingsevner • Resultat- og løsningsorientering • Innsikt i økonomistyring • Fleksibilitet; noe helg/kveldsarbeid og høy aktivitet rundt gjennomføringen av festivalen
Vår nye festivalsjef skal sikre at rockens uavhengighet ivaretas i arbeidet med festivalen. Det vil være en fordel med erfaring fra gjennomføring av store arrangementer. Vi tilbyr morsomme arbeidsoppgaver og et engasjerende arbeidsmiljø. Kontorsted er Tromsø. Tiltredelse og lønn etter avtale. Søknad med CV og referanser sendes til: Buktafestivalen, postboks 327, 9254 Tromsø eller e-post: booking@bukta.no Søknadsfrist: onsdag 20. februar 2013 Henvendelser om stillingen rettes til: André Løvik (styreleder), mobil 915 22 728
KITCHEN Aorta/LundLund
Utladet
Oppladet
Nü har vi strømuttak ved alle setene om bord.
Friday
Feb.
BY:LARM 13-16 FEBRUARY 2013 OSLO NORWAY EDITOR IN CHIEF Atle Richter Schie Copy chief Mats Silberg EDITOR INTERNATIONAL CONTRIBUTIONS Wyndham Wallace EDITORS ASSISTANT Helge Brekkke Web editor Pia Biermann CONTRIBUTORS Text Alexander Svanberg Astri Barbala Audun Vinger Charlotte Todnem Hanne Christiansen Henrik Richter-Schie Inger Lise Hammerstrøm Ingrid Brubaker Ingrid Ødegård John Doran John Robb Madeleine Mellemstrand Marta Revheim Øystein Rasmussen Petter Dotterud Anthun Phil Hebblethwaite Sean Erik Scully Siren Løkaas Sondre Kveldsvik Askedalen Tina Johansen Wyndham Wallace
Photo Glenruben Engen Larsen Helge Brekke Henrik Kihlstrand Hilde Holta-Lysell Isak Frøseth Jørgen Kvalsvik Jorunn Bakke Johannessen Marie Blom Marius Viken Mats Johannesen Patrick da Silva Sæther Richard Ashton Sjur Fredriksen Illustrator Esra Caroline Røise Jon Arne Berg Design Steinar & Mats, v. Brenneriveien.no
Print: Amedia Trykk Cover: MØ, Shot by Hilde Holta-Lysell STIFTELSEN BY:LARM FREDENSBORGVEIEN 24F 0177 OSLO TLF: 22036955 FAX: 22036969 EMAIL: INFO@BYLARM.NO A special thanks to all the volunteers who make by:Larm 2013 possible.
Thanks to our sponsors
By:larm news
15th
2013
The Writer Corps The number of artists playing by:Larm every night is pretty mind blowing. So many nerves being calmed with so many beers backstage. So many revelations, disappointments, smiles, frowns and Instagram-photos. It’s impossible to take it all in, to be everywhere all the time. Unless, of course, you have an army of reviewers and photographers running their tails off around Oslo seeing as many bands as they can, trying to digest, process and eventually put some of their impressions in writing. That’s what we’re giving you, a pretty wide and vivid picture of all that goes down at by:Larm. In this edition of by:Larm News there are more than 35 reviews produced during some very hectic hours last night. There are also some in-depth pieces about some of the many fantastic artists performing, speaking or otherwise making their mark on by:Larm. We hope these stories and interviews will make a nice compliment, and perhaps give you a quiet moment during this incredibly hectic festival. We’ll be back tomorrow. Hopefully we’ll have even more reviews, we’ll have talked to more interesting people. And we’ll be even more exhausted. So if you see one of us, cutting in line with a desperate look in our eyes, please, don’t be upset. We’re just trying to do our small part making by:Larm as good as it can be.
Thanks to our partners
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Friday
Feb.
Music opinion
15th
2013
Friday
Feb.
Music opinion
15th
2013
There’s something about Gordon Text: Alexander Svanberg Illustration: Esra Røise
Rock ’n’ roll has always been about youth. With Sonic Youth, Kim Gordon disproves that.
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very year, at festivals like by:larm, the media, record companies and concert promoters alike are searching for the new, the fresh, something to
break. Whether it’s 17-year old boys singing punk rock with a cello and Hammond organ, or a band of yesterday’s high school children performing bluegrass like true Appalachians, there’s a truism in the music industry; rock ’n’ roll has always been about youth. George Harrison was 27 years old when the Beatles disbanded, the same age Jim Morrison, Jimi Hendrix and Janis Joplin were when they checked out. Ian Curtis of Joy Division cashed in his chips at 23. In the cool twilight For an aging musician, facing another year of being passed at high speed by another fresh face of rock, thinking about all the young, raw talents of music history can be depressing. Kim Gordon, however, only ten years younger than Harrison, and three years older than Curtis, formed Sonic Youth in 1981 at the ripe age of 28. Some of her best work was put on tape well into her forties and at nearly 60 she is still a beacon of light for a certain demographic: The ageing artist. It’s easy to relate to George Bernhard Shaw, who said that youth is wasted on the young. Well, Sonic Youth was never wasted at all. With Gordon, there’s a certain je ne sais quoi, a relief that growing old cannot only be rewarding artistically, but even cool. Before the term hipster became what it is today, Gordon and Sonic Youth defined the word in their own way, without the derogatory meaning it has today. Their seemingly relaxed apperance, both on stage and on press photos, inspired a generation of shoegazers and sneakerwearing crate diggers. Gordon’s 27 years of marriage to bandmate Thurston Moore made long-term relationships and motherhood hip, and many hearts were broken when the couple split in 2011.
No holding back Throughout Gordon’s career, Sonic Youth album covers have introduced the works of visual artists like Gerhard Richter, Richard Prince and Raymond Pettibon to a new audience, making art aficionados of music geeks in the process. The band behind some of the most hailed albums of the nineties still seemed to be at the height of rocking out when they decided to put youth on hold well into their fifties, and there certainly doesn’t seem to be anything stopping Gordon these days. Apart from making music with Yoko Ono and her former husband, she runs her own clothing labels, XGirl and Mirror/Dash, having decided there’s a need for clothes for cool moms (herself included), makes appearances on tv-series like Gossip Girl and Gus van Sant’s film Last Days, does a bit of modeling for Calvin Klein and still finds time to follow her life long passion for making and curating art. True to herself Maybe it was Madonna’s feminist spirit that fueled Gordon and company into forming Ciccone Youth as a side project in 1986, covering among others Madonna herself. Though different on so many levels, both are in their separate ways feminist icons that have defined the pop cultural realm of the past thirty years, with a huge middle finger to back it up. But while Madonna has always been a frontrunner of the mainstream, fueled by shock value, MTV and new ways of appearing young and fresh, Gordon on the other hand paved her way as a rock bassist, guitarist and vocalist, with a voice that is her alone, all while ageing quite a lot more gracefully than Madonna. Maybe it’s her background as an art student, or the distance traveled before becoming an alternative rock star. Or maybe its insisting on staying true to herself regardless of what happens in the music industry that makes this year’s youngest 60 year old prove that life can be cool, well into the golden years.
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WiMP EDITORIAL TEAM PRESENTERER:
STORIES WiMP inviterer til daglig kickoff i WiMP Annex på Youngstorget, med musikalske gjester, musikkquiz og generell sladder & snadder.
ALINA DEVECERSKI (SE) LINNEA HENRIKSSON (SE) LISSIE (US) Flytta på dej: De svenske popflickorna MINIKONSERTER, ARTISTINTERVJU, Q&A MED PUBLIKUM, MUSIKKQUIZ OG LØYPEGUIDE
FREDAG 15.02 kl 16:00-18:00 WiMP Annex, Youngstorget – Gratis inngang (18-årsgrense)
LØRDAG 16.02 12:00-14:00 WiMP Annex Youngstorget Gratis inngang
www.wimp.no
presenterer
MiNiWiMP Familiedag i WiMP-teltet MINIDISKO OG AKTIVITETER FOR BARNA
Friday
Feb.
Music interview
15th
2013
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Youthful Scandinavian City Poetry
Ulige Numre plays the WiMP Annex on Friday at 01:00
Razika plays Sentrum Scene on Wednesday at midnight and WiMP Teltet on Friday at 20:30
Photo: Christian Band
Photo: Angela Blumen
Songs about cities have been written as long as there has been pop. Scandinavian cities might not capture the imagination like a New York or Berlin. Still, some bands can’t resist detailing Scandinavian city life in their songs. Text: Petter Dotterud Anthun
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Urban intensity The four girls in Razika still lives in Bergen where they grew up, and has devoted a lot of the songs on their sophomore album to the city, be it their hometown, Oslo or elsewhere. – Cities are so intense sometimes, which can shine through in a pop song. That’s I think why cities are so great as inspiration. Pop songs are short, fast and very earnest, just like the intense experiences in the city, says singer and guitarist Marie Amdam. A city vocabulary She thinks the fact that they were on – Not all songs can be about you’s and me’s and heartache. I adore love songs, but tour for so long has been essential for the urban inspiration on their newly released it’s nice to write in other contexts as well. With the city as a theme you have a whole album På Vei Hjem (On The Way Home). other vocabulary to choose from. In some – Through touring we got a new view of where we feel at home. Touring is a lot of of the new songs there are lyrics about fun, but eventually you start to miss your laundromats, young female drug addicts, upper class suburbs, wet cobblestones and everyday life at home, says Amdam. Carl Emil Petersen also says he found stuff like that, says Petersen. inspiration leaving home. In fact, most The city hangs as a backdrop for most of the band’s songs. According to Petersen, of the songs on Ulige Numres upcoming album were written while traveling the city’s inspiration comes from the fact that there are so many people living their – Some of the songs I wrote while staying in New York. It was all very dylaeveryday lives there, with their ups and nesque. Well, at least in my own head, he downs. It works as a point of reference. laughingly admits. – The city is a common thread in all of our music. It’s where we all go to look for – I mostly just walked around, drank coffee and tried to blend in. It can be relove, says Petersen. ou have been dancing with me for 20 years”, sings Carl Emil Petersen in the opening of the breezy song ’’København’’. He’s the lead vocalist of Ulige Numre. The band had a small hit with the song back in 2011. It is an uplifting declaration of love to the Danish capital that manages to keep both feet on the ground throughout the song, and has been shared by thousands of people online.
ally refreshing to visit other places. Traveling makes for great inspiration. There’s no place like home Razika’s experience of leaving Bergen to go on tour seems to only have reinforced their love for their own city. In an unapologetic manner, the opening track of Razika’s new album ranks Bergen as the best city in the world. On the lead single from the album “Oslo”, the band puts the Norwegian capital at the different end of the scale. “So dear Oslo / you look so good / but you are nothing to us”, Amdam sings in the beginning of the catchy chorus of the song. – In reality “Oslo” is actually an indirect tribute to Bergen and not a diss song, Amdam claims. – It’s more about capturing the feeling of being a stranger in the big city and wanting to go home. When the band played at by:Larm in 2011 they were cheered on by the audience to do an encore of their hit “Vondt I Hjertet”. Amdam knows what it will take to recreate the mood. – If there are some aggressive Bergen fans at the shows, then maybe?, laughs Amdam.
Mangler dere øvingsutstyr? Søk Musikkutstyrsordningen om tilskudd til felles utstyr til øvingsanlegg og øvingsfellesskap. Musikkutstyrsordningen gir også tilskudd til fremføringsutstyr, akustiske tiltak, musikkbinger, bygging og utbedring av øvingslokaler.
Les mer på www.musikkutstyrsordningen.no eller kom innom vår stand under by:Larm.
Husk søknadsfrist 1. mars
musikkutstyrsordningen – den nasjonale tilskuddsordningen for teknisk utstyr, akustikk og lokaler.
Gode musikkopplevelser hver dag i hele landet!
Friday
Feb.
Music Awards
15th
2013
In the summer of 2008, the Swedish sisters-duo First Aid Kit did a cover of “Tiger Mountain Peasant Song” by Fleet Foxes, and put it out on YouTube. 3,496,120 views later, the young sisters won the Nordic Music Prize for their album The Lion’s Roar.
A perfect album
Text: Marte Sunde Härter Photo: Mats Johannesen
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uring by:Larm in 2011, the prince of Norway presented the first Nordic Music Prize to the Icelandic artist Jónsi for his album Go. In 2012 the prize was given to the Swedish artist Goran Kajfe˘s, and his album X/Y. Last night, Sweden won again, when the Swedish sisters Johanna (22) and Klara (20) Söderberg took home the award for the best Nordic album of the year. With the prize comes respect, honour and 20,000 euros. – I don’t know if you can understand how proud I am of my daughters. They are outstanding and amazing, I love them so much, said their mother accepting the award, to great applause from the audience. Successful sisters can’t always be where the awards are handed out, especially when they are touring Sweden. So First Aid Kit sent their mother. Started crying – They sent me a letter to read for you. I will try to read it without crying, mother Söderberg said. – Ok, here we go: “We are shocked, disbelieved and honoured that we were chosen as winners of this award. It is all quite overwhelming. To be part of the Nordic music scene is a big joy for us, and the passion for sharing our music with you, is the greatest prize we could get.”
The sisters’ mother struggled to hold her tears back, as she continued to read. – I will get sentimental now, she said, continuing reading: “We want to thank our beautiful parents. And thank you, mom, for reading this speech. You are a constant role model and hero. Söderberg wiped away her tears to the applause, with the bands’ popular song “In the Hearts of Men,” playing in the background. The Lions Roar is the bands’ second album, and on the week of its release in January 2012, it went straight to no. 1 in Sweden, and no. 35 in the UK. – They are unique On Nordic Music Prize’ web pages, the jury credit the girls, stating that they “sing like angels in America, waking up their ancestors.” Tonight, the jury congratulated the Swedish girls, as they presented the award. – All of the jury members were annoyed that this band was selected the winner, said the leader of the jury, Andres Lokko. – I mean, they are just so good, and they are already popular. We wanted to honour someone perhaps not as well known. But their album is perfect, he said, and repeated: – It’s perfect, and no one can argue about that fact.
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Friday
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Music interview
15th
2013
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Print is not dead Music magazine ENO aims to strike the balance between the playful and professional while surviving in a landscape where printed publications are dying left and right.
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hey won’t survive, claimed the former editor in chief of the Norwegian music magazine Puls, Arild Rønsen, adding: – The Internet and the daily press more than cover people’s consumption of music discourse. Eno’s first edition came with an illustrated portrait of Brian Eno on the cover. It looked artsy and colourful, but managed to push its way through to a wide spectre of readers. Currently in its third year of print, and with a circulation of 3500 copies, ENO is now on its eleventh issue. ENO’s editor in chief Eirik Kydland says the magazine keeps getting new subscribers and can happily note a steady growth. – Rising like a well made cheese soufflé in an oven, every second coming closer to exploding. At the same time we are a fragile business, hoping that no one opens the oven door too early. We’re launching a new issue this week, where we feature a themed section about the tension between food and music. It’s our eleventh issue in three years, which really does deserve more of a celebration than just a cheese soufflé, says Kydland, and now,
Text: Inger Lise Hammerstrøm foto: ALEX SVANBERG
three years on, is ready to turn the tables on Rønsen. – Surprisingly enough, I’ve noticed that Rønsen has relaunched the print version of Puls, and that it mostly consists of cut and paste articles. It also has a poor quality press hand out on the cover. I think our visions on how a good music magazine should look are quite different... All nerds welcome When ENO first launched it filled a void in the Norwegian magazine market. The Internet had taken over, and classic music journalism withered. The ENO crew were trying to build a small fort of classic music journalism that would withstand the threat to long form journalism and criticizm.
– ENO is named after Brian Eno. In the name lays the wide spectre we wish to reflect in the magazine. At one moment he is an avant-garde composer, the next you find him producing the likes of U2 and Coldplay. He can be academic and advanced, but also flippant and sharp he says of the magazine’s namesake. – In ENO you will always find something that appeals to you in a way, no matter what level of music nerd you consider yourself. We’ve also been aiming to establish a forum where music criticism is allowed to grow and develop in a far looser form. There is no existing tradition in Norway of writing professional and reflective pieces about pop and rock, as there is for example with film, literature or art.
More money not a problem Kydlands perhaps biggest challenge launching the magazine is the fact that it is very hard to run a fiscally sound paper publication in Norway, let alone a magazine with high ambitions. – To paraphrase Mark Twain, “All you need in this life is ignorance and confidence, and you can be sure you’ll make it”. With almost 60 professional volunteer contributors connected to the magazine, ENO is exempt from most financial burdens, he claims, but still has to admit: – Without having investors or a publisher to back us up, it goes without saying that it is a challenge running a niche magazine of such high quality. Every night before I go to sleep I thank all the contributors that have made ENO a reality over the years. At by:Larm you can peek into ENO’s eclectic universe of musical preferences at their club nights at Turkish Delight, which will feature DJs like Strangefruit, Full Pupp and Diskjokke. Eirik Kydland promises to keep it real. – I’ll dance until my knees give in.
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Friday
Feb.
Music interview
15th
2013
Seven years after moving back to her native Sweden, Neneh Cherry no longer feels intimidated by her native country.
Neneh’s coming home Text: Hanne Christiansen Photo: Hilde Holta-Lysell
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e’re definitely still finding our feet, says Neneh Cherry and breaks into a deep, contagious laugh. She is talking about her latest collaboration with British electronic duo Rocketnumbernine, with whom she’ll be performing her second-ever show at by:Larm this week. – That’s part of the fun though, that kind of intensity when you’re just getting it together. It’s a bit like we’re still rehearsing. Neneh, now 48, looks remarkably like she did when she first broke into the realms of mainstream pop music with 1988’s iconic track “Buffalo Stance”. A lot has changed since then, but the bouncy curls and irresistible smile that added that unique air of playfulness to her raw, inyour-face attitude have remained the same. Homecoming Seven years ago she moved back to Stockholm with husband and long-time musical collaborator Cameron McVey. Being back in Scandinavia, she says, has been important to her both personally and musically. – In terms of feeling like a Swedish artist, it’s been really important for me to move back because all of my so-called grown-up, evolved stuff happened outside of Scandinavia, she says. Bohemian life While she spent a large part of her childhood in Sweden, Neneh’s life was always in a state of geographical flux. Stepdaughter of the innovative jazz trumpetist Don Cherry, Neneh and her brother Eagle Eye spent summers travelling Europe and hanging out backstage with some of the most seminal figures in jazz music. – I remember sitting on Miles’ lap, she recalls. Miles Davis, that is. – He was wearing snakeskin trousers and had this incredibly powerful energy. The best part of her own musical career was spent in London and New York, where she stayed true to the bohemian, communityoriented environment she was raised in. She describes life in London in the 1980s and 90s as a continuing cross-collaboration between creative minds like trip-hop trailblazers Tricky, Portishead and Massive Attack, and hugely successful producers such as Tim Simenon of Bomb The Bass.
Discovering The Thing Returning to her native country was not an entirely straightforward move. – When I first moved back to Stockholm, I definitely had a real aversion to it in many ways. I didn’t want to play there – I felt like I was underneath a magnifying glass and I was really scared. Last year’s acclaimed collaboration with Norwegian-Swedish free jazz trio The Thing would however help change that. – Cameron went to see their gig in Stockholm, and came back insisting that they should be my band. I just thought it was the weirdest thing to say, she laughs. Turns out he was right, though. Neneh had a far more natural connection to The Thing than she had thought. The band originally took their name from one of her stepfather’s songs, and their experimental jazz approach to making music struck a deep chord with her own creative roots. The resulting album, The Cherry Thing, which saw Neneh and the band rework some of her personal favourites (including a moving rendition of Don Cherry’s “Golden Heart”), was nominated for this year’s Nordic Music Prize. Punk mentality Neneh says there was also a strong punk mentality to The Thing’s performances that resonated with her own experiences. – I never really felt like I found my voice until I discovered punk music at 14, she says. – There was this amazing, raw expression, which I also later rediscovered in hip-hop. That really appealed to me. “Buffalo Stance” was all about that – about seeing other people’s reactions. She says her recent work with Rocketnumbernine, as well as new material she is currently working on for a fourth solo album, are products of having learned that it is OK not to get everything right. The same mentality has also helped her find peace living in Stockholm. – As I’ve started writing new stuff, I’ve gradually started getting over the fact that I initially felt a bit intimidated by Sweden. It definitely feels like a homecoming, and an important reminder of the part of me who comes from this corner of the world. Neneh Cherry & Rocketnumbernine plays Sentrum Scene on Friday at 20:00
Friday
Feb.
Music interview
15th
2013
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Why are all these people at by:Larm? And do they have any tips for people attending by:Larm for the first time? Text: Marte Sunde Härter
Adem Adem (22) Volunteer at the festival – I am really looking forward to the party for the volunteers. And seeing Zawadi, Adam Kanyama and Phil T. Rich. My best tip for those visiting by:Larm is to have fun, and to been open minded.
Magnus Olsson (22) by:Larm debutant – I have never visited this festival before, so I am looking forward to the whole concept of by:Larm. I am also looking forward to seeing JJ play. My best tip is to see concerts of bands they haven’t seen before. There are so many good bands out there.
Josefine Valle (22) Volunteer at the festival – I’m looking forward to seeing Shining and Billie Van. I went to Gerilja’s concert yesterday, and really enjoyed it. – My number one tip is to dress up in several layers of clothes, so that you can adjust your temperature more easily.
André Jofre (21) Festival participant – I am looking forward to seeing what is out there, and I am curious about Lorentz & Sakarias. And it will be interesting to see how Scandinavia will welcome all this different music. – I’d recommend everyone to just let loose and to have fun..
Aud Digernes (43) Volunteer at the festival – Unfortunately I don’t have the time to go to any of the concerts. If I did, I would look forward to that. My best tip for the all of those visiting by:Larm, is to wear good shoes. Then their evenings will last longer.
’S WAY NOR DING LEA UES VEN
Mandag 18. februar:
Torsdag 14. mars:
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Fredag 26. april:
Releasekonsert:
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TROND-VIGGO TORGERSEN KRISTOPHER SCHAU
Bill. kr. 300,-. 18 år leg.
Bill. kr. 370,-. 18 år leg.
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Fredag 15. mars:
Lørdag 13. april:
Special guest: HEDVIG MOLLESTAD TRIO
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Lørdag 18. mai:
An Intimate Evening with
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Fre. 22.2:
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LUCINDA WILLIAMS Onsdag 12. juni:
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Supp.: ULTRASOUND Bill. kr. 300,-. 18 år leg.
A$AP ROCKY Special guest: TRUCKFIGHTERS
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01.03: THE AVETT NB! FÅ BILL. BROTHERS 09.03: JORN 16.03: STEVE LUKATHER 02.04: HELLOWEEN + GAMMA RAY 05.04: VIOLET ROAD 24.05: BONNIE ”PRINCE” BILLY
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VILLAGERS(IRL)
Supp.: LUKE SITAL-SINGH (UK)
Tors. 7.3:
“Et av Nordens fremste Pink Floyd-band!”
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Special guest: DEATH BY UNGA BUNGA Nytt album ute 8. mars!
Bill. kr. 200,-. 18 år leg. Fredag 22. mars:
”Disarm the Descent” ute 1. april!
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BIFFY CLYRO
THE RESIDENTS
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ALFRED HALL
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Torsdag 9. mai: FROM THE LOWL ANDS
(S)
JOHN PRINE Releasekonsert:
STEFAN SUNDSTRÖM
DRM
Supp.: PATS ONE & INT
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Unummererte sitteplasser.
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COLD MAILMAN
SOLO TOUR 2013 Tirs. 4.6: Bill. kr. 175,Bill. kr. 320,-. 18Posten, år leg. www.billettservice.no. medpå band Forsalg Posten,Forsalg tlf. 815 på 33 133, Forsalg tlf. 815på 33 Posten, tlf. 815 Bill.avg. 33 133, kr 25,-. www.billettservice.no. OBS! Bill.avg. kr 25,-. OBS! Bill.avg. kr 25,-. Debutalbumet ute i133, mars! www.billettservice.no. Bill. OBS! kr. 300,-. 18 år leg. (US) “Under Radarn” ute nå!
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ALLAH-LAS
HUSK OGSÅ:
20.2: PHILLIE 09.3: ELDKVARN 05.4: DUGG 06.4: RAMMSUND 24.4: LARKIN POE & THOM HELL 16.5: THE CARBURETORS
Forsalg på Posten, tlf. 815 33 133, www.billettservice.no. Forsalg på OBS! Posten, Bill.avg. kr 25,-. tlf. 815 33 133, www.billettse STEIN TORLEIF
BJELLA DANIEL NORGREN
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”Life is Good” ute nå! Bill. kr. 450,-. 18 år leg i hovedsal. Fri alder på galleriet.
UTSOLGTE SHOW:
21.02 (RF): SLASH 21.02 (JD): LOCAL NATIVES 21.02 (SS): FIRST AID KIT HUSK OGSÅ: 22.02 (RF): BETH HART 18.03: STEVEN WILSON 06.03 (SS): MANOWAR Forsalg på Posten,Forsalg tlf. 815 på 33 133, Forsalg tlf. 815 på 33 133, tlf. OBS! 815 Bill.avg. 33 133, kr 25,-. www.billettservice.no. kr 25,-. 15.05 (SS): OBS!THE Bill.avg. 12.04: OBS! ELLIEBill.avg. GOULDING Bill. kr. 320,-. 18Posten, år leg. www.billettservice.no. KNIFE kr 25,-. Bill. kr. 300,-. 18 år leg. Bill. kr. 250,-. 18Posten, år leg. www.billettservice.no. Bill. kr. 270,-. 18 år leg. OBS! Bill.av OBS! Bill.avg. kr 25,-.
WENCHE MYHRE, MICHAEL KROHN, DISSIMILIS, OSLO ESS, ONKLP, REIDUN SÆTHER OG KATZENJAMMER
på tlf. 33 Forsalg påForsalg Posten,Forsalg tlf.Posten, 815 på 33 Posten, 133,815 www.billettservice.no. tlf.133, 815 www.billettservice.no. 33 133, www.billettservice.no. www.rockefeller.no, 7-Eleven, tlf. 815 33 133. Gruppebedriftssalg: kontakt post@rockefeller.no / tlf. 22 20 32 32. NB! Bill.avg. Forsalg påForsalg: Posten, tlf. 815 33Posten, 133,Narvesen, www.billettservice.no. OBS! og Bill.avg. kr 25,-. orsalg på Posten, Forsalg tlf. på Posten, 815 Forsalg 33 133, tlf. på Forsalg 815 Posten, www.billettservice.no. 33 133, på tlf.Forsalg Posten, 815 www.billettservice.no. 33 på 133, tlf. Forsalg Posten, 815 www.billettservice.no. OBS!33 Bill.avg. på 133, tlf. Forsalg Posten, kr815 25,-. www.billettservice.no. OBS! 33 Bill.avg. på Forsalg 133, tlf. Posten, kr 815 www.billettservice.no. 25,-. Forsalg OBS! 33 påtlf. Bill.avg. 133, Posten, 815 påkrwww.billettservic Posten, 25,-. OBS! 33tlf. 133, Bill.avg. 815 tlf. www.bi kr33 25,-. 815 OBS! 133 B Fullstendig program og info: www.rockefeller.no
Forsalg på Posten, tlf. 815 33 133, www.billettservice.no. Forsalg på OBS! Posten, Bill.avg. kr 25,-. tlf. 815 33 133, www.billettse
#madeinfinnmark
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Vi bygger nordomr책dene
Vi bygger nordomr책dene
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Friday
Feb.
Truls plays John Dee on Friday at 01:00 and the WiMP Tent on Saturday at 00:30
Music interview
15th
2013
Friday
Feb.
Music interview
15th
2013
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The Evolution of Truls Truls Heggerø has been the lead singer in Lukestar and as Truls and the Trees. Now all that’s gone, and only Truls is stripped down to the bare minimum: Truls. Text: Henrik Richter Schie Photo: Marius Viken
I
ndie rockers don’t normally develop into R’n’B artists. The two crowds rarely mix, but Truls tells me this is just part of him evolving as an artist. In any case, Truls is not really a fan of dividing music into genres other that good music and bad music. – After we ended Lukestar I felt it was time to do something completely different and challenge myself, as well as people’s perception of me. I’ve wanted to do this for a long time. I feel like this isn’t so much a decision to change as much as it is following the road that’s already laid out for me, he says.
to the music he makes now compared to the more “credible” indie rock he made in the past. If you have heard Truls sing before you have no doubt noticed his characteristic high-pitched voice. Not a lot of singers sound quite like he does. That voice comes into its own on his new material, making the genre jump seems quite natural.
Nervous and excited by:Larm will be the coming out party for the new songs, and Truls can feel it. – I’m pretty nervous, but I feel really good about this and I know it’s good, so all in all I really look Go with the flow forward to show what I have done and I’m excited to – It’s been a really positive experience this whole ma- see peoples reactions to it, he admits. king of the new material and trying out new things, – It’s different at by:Larm, though. It’s mainly a and even though it felt right and natural to me, you festival for the music industry, and you have to think never know how people will react. In a way everytabout presenting your music properly more than you hing just happened. None of this was planned, and would at a normal concert. I’ve played at by:Larm that’s just how I like to work with music. Just go with several times before and had some really good mowhatever happens and see what comes out of it. ments in both 2008 and 2011 with Lukestar, so I feel And the chips all seem to fall into place. The regood about the festival, but those concerts were more sponse has been overwhelmingly positive even before like a great party with friends. I definitely feel more he’s released his first single. He’s nominated to this pressure than usual and really need to focus to make years Statoil grant, he’s been booked to play the Øya it perfect. Festival and he is featured on several one-to-watch That’s true for a lot of the bands playing at lists for 2013. by:Larm, many of them presenting themselves for the first time. Truls, for his part, likes the compactness No guilty pleasures of the festival, the insane amount of live music cramAll Truls has really been up to, though, throughout med into four busy days his career, is searching for the perfect pop song. – I love the fact that you get to see a lot of bands – I never use the phrase guilty pleasure. Some you otherwise wouldn’t take the time to see live songs I just really do like, no matter what. I don’t feel for many reasons. The obvious being that there is guilty about it, because the reason I like it is that it’s simply not enough time for it in everyday life, but at so good. It’s spurred many good discussions of courby:Larm you get a lot of them gathered in just a few se, but no one should feel ashamed for liking a song, days. he says, emphasizing that there’s no ironic distance
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– låtskrivernes organisasjon
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Friday
Feb.
Industry Interview
15th
2013
Sometimes smaller can be better
DIY for the love of music Text: Leena Ollikainen
Photo: Soliti
When starting your own record label:
A
t the turn of the decade the Finnish independent music business got bulldozered by the majors who were buying many of the smaller labels causing a silent period on the indie front. A couple of years passed and in the mid 2000s the majors were forced into huge cuts. At the same time the indies started waking up again and record buyers began to find their way back to the smaller labels. In the past decade Finland has continued to open up to the world, but the challenges are still there. Finland often ends up being forgotten or overseen when it comes to music. Nick Triani, part Italian, part English and after 15 years in Finland part Finnish gentleman, steers Helsinki based record label Soliti. With its roster currently totaling nine bands and counting, including Astrid Swan, Black Twig, The New Tigers, Cats On Fire, Big Wave Riders, Paperfangs, Delay Trees and Black Lizard, Soliti has become one of the most active indie labels in Finland since its inception in 2011. Triani’s label would probably not exist today if the oldest and biggest Finnish indie label Johanna had not been bought by Universal. This resulted in Triani being a ‘let go’ and 90% of the bands he worked with dropped. –It felt quite logical to start a new label, even though a lot of people said I was crazy for trying. As an A+R, or working with bands, either as a producer or within a label is something I’ve been doing for many years. Cats On Fire, Delay Trees & Astrid Swan were three of those bands dropped by Universal and a few other bands, including Black Twig & Big Wave Riders, I had already been talking to, says Triani. Music business itself is certainly not new to Triani. With almost 30 years’ experience as producer, DJ, critic, manager and an A&R, he has the advantage of a vast and varied experience in the industry. On top of this he was quite aware that there were far easier ways of making money than starting his own label. Still, he decided to choose the road less travelled and follow his heart rather than his head: –The biggest hurdle was the fact that I had no money, no office - no actual resources to start the label. I am a one man band as it were, and I take care of every facet of the day to day running of the label. The money situation has eased slightly, which has secured the label for awhile. I think I’ve managed to overcome any potential obstacles by focusing on the music and making sure that I release music I 100% love and enjoy. Music and money go inevitably hand in hand. For most artists, being signed by a major record label deal is the one and only thing they aim at, but signing to one of the big ones also
Don’t • Start running a label from your front room (after a year and half of this – in which time me and my wife had a child – getting an office has been a revelation) • Work with any band because you feel you owe them something or feel sorry for them • Spend huge amounts of money on anybody’s master tape (there’s always a cheaper way) Do • Start a label if you are prepared to enjoy your work, which will be relentless and all consuming • Only work with your favorite bands (not the current hot ticket) • Be prepared to stick by your bands for many years (and your label)success doesn’t happen overnight • Spend huge amounts of money on a master tape if you think you are investing in the next Pet Sounds Delay Trees plays Kulturkirken Jakob on Friday at 21:00 and the WiMP Annex on Saturday at 20:00. Black Twig plays the Rockefeller Annex on Friday at 22:00 and Revolver on Saturday at 22:30
has its price. When it comes to sharing the profits, the large labels almost always offer a smaller percentage to their artists, whilst indie labels often share the earnings 50/50. –I think 50/50 deals are becoming increasingly the way to go and have been around for years. I think ownership of recordings, especially for the artists, is becoming very important. Soliti would not exist if it was ploughing money into master recordings. It’s quite a simple arrangement. We’re dealing with small recording budgets which mean a band can realistically earn some money back from their album releases. This way just seems a fairer way of working and it involves trust, being in this together and making it beneficial for all parties, says Triani As the music industry has moved into the digital world, indie labels have been forced to rethink their strategies and budgets. Although the digital age has made making money in the music business tough for everyone, it has also been opening new doors, today’s artists have more resources available than ever before. Getting your music heard and getting it to market has never been easier: you can reach customers without having to rely on traditional distribution networks, and you don’t need radio play or promotion to gain attention. Triani agrees on this: –I think there has been a very big move away from traditional sources of discovery. I’m not saying that radio, TV, print media and advertising are not important anymore. Those outlets still matter, I just feel that nowadays they are just parts of the fabric that can break an artist. Other outlets, especially online, can reach a potentially huge audience, and those outlets don’t tend to discriminate as to what kind of label you are. In some areas the playing fields between large multi-national, huge indie or bedroom labels are often connected. I think borders have also broken down somewhat; you dont need to be from a traditionally successful market anymore to break internationally. Triani sounds optimistic but certainly not complacent as he sums up how it is being a Finnish independent record label in 2013: –Hopefully, it means following your own path and determining a certain aesthetic. Finding new ways to do things. For Soliti especially, there are lots of challenges regarding formats and sales, and basic things like geography. Even though I mentioned earlier that borders are relaxing, being a small indie from Finland still makes it tough going. If I answer this personally, being an indie label in 2013 means working with bands you love and respect.
Friday
Feb.
Seminar Roundup
15th
Trending digital
2013
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Why have all these delegates come to by:Larm? And what’s really the most important aspect of an event like this? We took to the streets to find out. Text: Marte Sunde Härter
Text: Seán Erik Scully Photo: Mats Johannesen
What’s hot, what’s not, and how on earth can you make money taking notes? The first ever by:Larm Tech is almost in the books already.
Augus Blair (40) Global Talent & Publishing – I am here to discover new talents, and to make new contacts. The most important thing about by:Larm is the opportunity to create international awareness of new talents, and to get insight in the market – to “rub shoulders” with other actors within the music industry.
Kristin Castillo Eldnes (32), WiMP
Power to the People by:Larm Tech Thursday got started off with trend analyst and CEO of Aegis Media, Paal Fure speaking through his impressive beard about the similarities of today’s digital life with the movement washing over Europe some 500 years ago. Fure argues that we are in a digital renaissance. But whereas Florence was the home of the more famous renaissance, our current one is taking place online. So what may they have in common? The distance from the power, argues Fure. Florence was, in its time, far away from Rome, where the Senate was seated. Likewise, the Internet is in many ways lawless. Fure encourages content producers and marketers to work with data in a completely different way, recognizing the interplay between political, economical, technological and cultural forces in deciding what becomes popular and what falls by the digital wayside. Evernote and other ideas Damien Mehers works for Evernote, the small program that has managed to make a business out of note taking. Though he gave the impression of eulogizing the popular service, the audience seemed attentive, even seemed nevertheless amazed by the capacity and functionality of the program, hopefully inspiring them in advance of the workshop in how to develop your own Evernote apps were given later . Ageis boss Paal Fure’s crew returned later yesterday, when Nils Ola Bark and Tom Andersson from Isobar Norge, a subsidiary of Aegis Media, presented their Digital Trends 2013 report. The capacity crowd got predictions on trends and bubbles within technology, communication and user interaction for this year. by:Larm Tech’s first two days are history like the renaissance, but making our own prediction: The future looks bright.
– I’m here to represent WiMP, the main sponsor of by:Larm, and I am hoping on a lot of great music experiences. The most important thing about by:Larm is to spread music both within and outside of Norway. I think it is great that the festival enables a focus on Nordic music.
Charlotte Sohm (32) Festival Air d’Islande – I am here to check out Nordic, and especially Norwegian, artists and bands. An important thing about by:Larm is that it is a good place to mingle and get new contacts.
Ruben Nasse (28), Brilliance – I’m here to meet new people and to get to know new people in the music industry, and also to watch exciting bands. I think by:Larm is a great place to promote and discover new artists.
Eirik Tofte (24), Va Fongool – I’m here to get contacts within booking for my band Ich Bin Nintendo. For the bands, I think the most important thing is the opportunity to show themselves to the music industry. For me, the most important thing is to mingle, and to get new contacts.
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Friday
Feb.
Music interview
15th
2013
Todd Terje No Bad Days Text: Sondre Kveldsvik Askedalen Photo: courtesy of the artist
Friday
T
he first time I heard “Inspector Norse” was at a party last year. Some guy had walked up to the DJ booth requesting a song for his girlfriend, seemingly oblivious to the fact that the dance floor was already rammed. I couldn’t help but to cover a smirk, knowing that the guy’s request wasn`t very likely to get a very friendly reception. To my surprise however, the DJ simply smiled and nodded, a particularly rare gesture in the somewhat conceited club scene. A couple of tracks elapsed without much notice, but judging by the crowd’s rapturous reaction and the thumbs up by the dancing twosome about fifteen minutes later, he had played the tune requested. “Inspector Norse” was unarguably one of the biggest dance tracks of 2012. Instantly recognizable and strangely accessible, it was championed by DJs across the globe for the best part of last year. Without a clear intention to do so, Todd Terje had made his first crossover hit, generating attention from circles stretching far beyond the underground dance scene. Let’s talk about Disco Being an underage kid from a tiny place like Mjøndalen, a quaint but dull town on the outskirts of Oslo, acquiring a taste for spaced-out disco might seem an unlikely thing to do on your own, especially during the internet dark ages. Nonetheless, from a young age Terje Olsen was drawn to a somewhat more eclectic type of dance music through the radio shows by Pål Strangefruit Nyhus, and quickly became
Feb.
Music interview
15th
completely infatuated with the idea of this new and exciting world of strange sounds. Leaving his birthplace and applying his mind to something a little less constrained than his physics studies, club edits of Disco-tracks started to stack up under the name “Todd Terje” and eventually earned him widespread international attention. The name is (for those who don’t know) a spoof of the Chicago-House legend Todd Terry and is reflective of Terje’s character as musician who doesn`t take himself too seriously. Remaster of the universe Following a series of head turning reedits, his first EP “Eurodans” dropped in 2004 and made it crystal clear what Terje was all about: incorporating breezy, uplifting melodies into a classic house structure without feeling overly contrived. Terje kept on knocking out remixes for the remaining half of the decade which were eventually compiled into the album Remaster of the Universe in 2010. But in terms of his own productions, he had until recently remained completely silent during the period since his first EP. It wasn’t until 2011 before he returned to release anything new of his own. “Ragysh” came out early that same year and the acclaimed title track reinstated Terje’s reputation for manufacturing simple, yet undeniably effective dance floor hooks. The EP was followed by the highly anticipated “The Arps” in 2012 which included the mighty single “Inspector Norse”. With what seemed like perfect timing, its popu-
2013
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larity was swept along by the “New-Disco” wave and gained widespread commercial success within just a few months. Let’s nerd After the release of “Inspector Norse”, Terje is covering ground far beyond what most artists in the genre achieve in their career, yet remarkably he still seems to remain indifferent to this fame. Reaping the rewards of his dedication in the studio, from the outside it seems to be all about having fun for the 32 year old producer. Whether it’s his spicy take on track titles, almost childlike approach to production or the fact that with over 48,000 likes on Facebook his profile picture is just a unicorn: his playfulness is permanently visible. Translating his love for analogue machines into uplifting melodies with an undeniable human connection, it’s nearly impossible not to fall for his “hands in the air” dance floor workouts. Whateverest Perhaps it is the genuine human connection in Terje’s music which was the catalyst for film maker Kristoffer Borgli’s project “Whateverest”. Completely taken by the track “Inspector Norse”, Borgli contacted the producer about the possibility of collaborating on a short film scored in its entirety by Todd Terje. The fifteen minute short, initially marketed as a documentary (a promotion ploy not based in reality), was shot over spring and released as the music video for “Inspector Norse” in summer 2012. The full length “Whateverest” followed early in 2013.
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Friday
Feb.
Tech interview
15th
2013
No bad days While the video for “Inspector Norse” was regarded by many as pure entertainment, “Whateverest” is somewhat more complex. Although in no way romanticizing drug taking, escapism seems to be the recurring theme throughout, reaching a crescendo when at the end the main character is dancing on the beach, seemingly carefree and completely oblivious to his surroundings. Perfectly exemplified in Todd Terje’s music, his main purpose seems to be providing people with just that: A soundtrack to having as much fun as possible, slipping away from reality; if just for a little while. Todd Terje at by:Larm 2013 Catch Todd Terje at by:Larm this Friday at Blå where he will be playing alongside musician & DJ: Boska, an up an coming producer who has already turned heads with releases such as “Arrival” and “Without Love EP”. Boska draws his influences from Berlin house and his beautifully melodic yet bass heavy influence from the UK. The two acts complement each other nicely, so be sure not to miss it. And if you’re experiencing a bad day after this evening’s shenanigans, I suggest you watch “Whateverest” one more time. It won’t cure the hangover, but while lying on the couch drowning in self-pity you could do well to try to learn a thing or two from Inspector Norse.
atlanter
vidde
Mona & Maria - My Sun
Atlanter - Vidde
cd/lp/digitalt 19. april
cd/lp/digitalt 15. mars
Tider på by:larm: Torsdag 22:00 Sentrum Scene & Lørdag 22:00 Gamla
Tider på by:larm: Torsdag 21:30 Herr Nilsen & Lørdag 01:30 Crossroad
UNIKE TELTLØSNINGER FRA NORGES LEDENDE FESTIVALLEVERANDØR
www.obwiik.no
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Friday
Feb.
Review
15th
2013
Friday
Feb.
Review
15th
2013
29 29
Efterklang(dk) Rockefeller, 10:30 PM The story behind Efterklang’s latest album, Piramida, is unlikely but rather splendid. Over nine days spent in the freezing Arctic archipelago of Svalbard, Norway’s most northern point - especially in Pyramiden, the abandoned coalmining settlement formerly occupied by the Russians which gave the album its name – the band reaped a bounty of a thousand field recordings relentlessly collected. The Danes then travelled to Berlin, using these to construct the bones of what must surely be the best of their frequently acclaimed albums so far. If you think this suggests that the results are an experimental journey into found sounds and self-indulgent whimsy, you’d be wrong. Piramida proves that it’s possible to make music of sensitivity, drama and accessibility from the most unlikely sources, and tonight’s live show reflects this. Perhaps the story is necessary, though, to draw people in. After all, pinning down the sound that Efterklang makes is far from easy. These aren’t pop songs, you see, yet they’re frequently, monumentally hook-laden in some enigmatic, indefinable fashion. This is, if one can use such an old fashioned phrase, ‘indie’ music at its most defiant: it’s prepared to take its time, wriggling in and out of the shadows of melody, unafraid of employing repetition, revelling in playful improvisation and immersing itself in a theatricality that never detracts from the artistry of their songs. Efterklang at last occupy their own eccentric space. There’s a welcome confidence in everything they do tonight, a well-rehearsed band recognising that they’ve stumbled upon something that - unlike earlier material, whose influences were sometimes a little obvious - they can call their own. Main man Casper Clausen and keyboardist and part time vocalist Katinka Fogh Vindelev look
completely at ease, Clausen grinning and playing up to fans as he trades harmonies with his colleague. If previously they’ve perhaps been a little effete, these days they’re considerably more muscular, and, consequently more engaging: crowd participation is frequent and passionate, especially on the somewhat Yeasayer-ish Raincoats, with its wiry guitars sinewy and almost funky. They arrive on stage amid smoke and darkness to a rumble of guitars and drums, striking an almost prog-rock mood with their entrance. But Clausen - resplendent in golden dinner jacket and bow tie while he sips on red wine - controls their performance’s tone throughout, shifting effortlessly and swiftly from sophisticate to clown, from introspective to anthemic, conducting the crowd as well as his band. The sounds of Svalbad are hard to detect, it’s true, but that’s unimportant: the percussive drive, operatic harmonies and cursive shapes of Hollow Mountain’s melody make these irrelevant. It’s as though their expedition to Svalbad’s frozen territories has actually melted their inhibitions. The showmanship here is unexpected, and a welcome reminder of what happens when a band is given the time and space to develop their craft, as well as the freedom to pursue new avenues with each release. To call them a revelation may be a little strong, but these Danes tonight more than justify a reputation that’s growing with each and every release. Originality is increasingly hard to come by, especially in this world of quick fixes and tedious crowd-pleasing novelty, but when they close their set with the staccato piano stabs and rich synth textures of Modern Drift, Clausen casting off his jacket for its joyous finale, it’s clear that this is a band that has come of age.
text: Wyndham wallace Photo: jørgen kvalsvik
Foto: Ole Jørgen Bratland
StatoiL og By:Larm PreSenterer konSert med
Jarle Bernhoft and friends
Sentrum Scene lørdag 16. februar Vi kårer også ny Statoil og By:Larm stipendvinner denne kvelden
Friday
Feb.
Review
15th
2013
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Bow To Each Other Stratos, 08:30 PM Bow to Each Other is a duo of beautiful young women. One Norwegian, Gunhild Kristoffersen, and one Canadian, Megan Kovacs, based in Oslo. The two has embraced the misty sound of Scandinavian synth-infused pop. They have the stage persona of very pretty zombies, but they sound as great as they dress. The somewhat depressing aura that surrounds them is an effective contrast to the lingering sound of their modern pop. They seem timeless, even though they’re as modern as their short pixie haircuts. They have an enormously complete and well-rounded act, and seem mature for their age. They have a melancholy sound that rubbed off on the audience. They seem distant and weary, looking over our shoulders, posing as if to see where the street style photographers where. Because despite the concert being as fresh and indie-interesting as this, these girls are bound to stick around. By: Siren Løkaas Photo: Henrik Kihlstrand
AACT RRAISER Jaeger, 09:00 PM
Aslak Hartberg’s The Fuzz Victoria - Nasjonal Jazzscene , 09:30 PM
Too much of a good thing can be lethal. Aact Rraiser’s set opens like the start of a wild night out downing every blue drink in sight while dancing enthusiastically. The local duo produce polished chill wave house by a strict template, taking semi-recognizable sun-kissed pop songs, then looping and processing them until they turn ultra violet - adding vocals that sound like they are emanating from a nightclub three blocks away and beats that were created at the bottom of a sun-dappled swimming pool. This fake ecstasy - eu-faux-ria - wears off pretty quickly though. When they sample Orange Juice’s “Rip It Up” and blast it through cheap reverb and phase, it doesn’t feel like you’re high and having the time of your life. What it feels like, is more akin to being at an indie disco at the end of a night drinking nothing but blue drinks, when your mouth starts salivating, you break into a cold sweat and you realize you’ve got exactly ten seconds to make it to the bathroom.
This experimental jazz band had a melodic feel to their sound, with a pleasing intermittent “clickety” electric buzz. During their more relaxed segments, there was a distinct theatrical groove to their songs. Sometimes so much so, that it seemed like it could have been used as the soundtrack for a sensual scene in an Eddie Murphy cop movie. Aslak Hartberg`s vocals and guitar were dark and cold, in fact their entire sound was like a Norwegian forest during winter solstice. The snow dampening the sounds of the animals, here given life by Aslak’s thundering chant. The audience seemed somewhat bored during the songs, sitting bent over their phones texting and Facebooking, yet they overreacted into a sea of applause between songs, yelping and screaming. Compared to the bands both relaxed demeanor and intense concentration, texting seemed wrong.
By: John Doran Photo: Glenruben Engen Larsen
By: Siren Løkaas Photo: Glenruben Engen Larsen
Haraball
John Olav Nilsen
John Dee, 09:00 PM
presents: Highsakite
If early Turbonegro decided that on their first EP, they wanted it to sound like Black Flag, but with their own twist, they would have sounded like Haraball does now 20 years later. Even Haraball’s song titles, like “I Want Your Downs”, could just as well have been on that first Turbonegro EP. The audience attending at the John Dee venue is a curious one, including some actual Turbojugend punks with the mandatory sailor hats. At first the concert feels like falling down a hillside – the bad kind, but after a couple of songs the sound engineer gets the bass down to level with rest and it’s tolerable. Singer Jon Eivind Eriksen spits out his lyrics in semi-aggression with the moves to follow, but the rest of the band is too static. Too bad. A little more movement from the rest of the band could have brought on the beer-drenched moshpit the music deserved. By: Øystein Rasmussen Photo: Marius Viken
Gamla, 08:59 PM Packed with a blessing mix of young festival kids, booking agents and music journalists, Highsakite made a good debut at by:larm 2013. Gamla’s intimate community center feeling was no less a mood breaker for the young Trondheim band. Their brave approach to club music as well as cool and folklorist pop makes a good selling point in the music industry of 2013, even though the Lykke Li vibe gives them a hint of the damned hipster vibe. Their professional approach to their respective instruments, ranging from cool synth to smooth cornet lights up their way in a jungle of other bands trying to sound like a shaman tripping on mescaline in the syndicate sound of pop. The delicate balance between darkness, professional musicians and the naive energy of the youth lifts them up to a promising level. We’ll see plenty more from Highasakite the coming summer. Hopefully they’ll find a more distinct sound before then. By: Inger Lise Hammerstrøm
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Friday
Feb.
Review
15th
2013
Frøy Aagre Electric Victoria - Nasjonal Jazzscene , 10:30 PM The band was not particularly electric, well not in the literal sense of the word anyway. Three immaculate artists on stage, waved around their instruments, shook their heads and gave you room to join in their abstract journey across Frøys world. Their set seemed to tell a story, voiceless yet still accessible. Saxophonist Frøy Aagre, is an Oslo-based artist who studied classical, jazz and gamelan music in Birmingham, tango in Buenos Aires, and saxophone in New York. She gives the impression of taking you to the loved places. Both cities and dreams. The beautiful tones seemed so concise, yet at one point they suddenly played a horrible tone, although I have no idea if it was supposed to be there, it fit like a glove, a torturous glove. The sparse audience nodded along with her music. One older looking woman smiled sheepishly through the whole set, but seeing as how there were not a lot of people, I suspect it might have been her mother. Siren Løkaas By: Siren Løkaas Photo: Sjur Fredriksen
Heartfelt Revolver, 09:30 PM With a background from classical composition, Heartfelt, or Brede Rørstad, has an interesting approach to creating unique pop songs. Heartfelt’s set at Revolver started out with him and a drummer on the stage with a sweeping playback of strings and insisting vocals. After a somewhat noisy opening tune, hinting at great things to come, two saxophonists and a bass player accompanied him. The extra musicians complemented his songs well throughout the set, reflecting, perhaps, his compositional background. Clubby synths and the bass player’s almost disco-like riffs drive the tasteful and funky songs. Both the audience members and Rørstad himself seems to have a good time, with him dancing around on stage in an jovial yet elegant manner throughout. Heartfelt’s show is a tight and well done affair. The audience seems ready and willing to explode, and maybe with a decent hit song or two this could actually happen. By: Petter Dotterud Anthun Photo: Sigbjørn
Friday
Feb.
Review
15th
2013
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Ludvig Moon Sentrum Scene, 09:00 PM Anders Magnor Killerud is a man whose attributes include both musical talent as well as enthusiasm, and that fact alone makes a Ludvig Moon show worth attending. Facing a practically empty Sentrum Scene doesn’t seem to faze Killerud at all; during the third song he kicks off his shoes and treats the stage as his own living room. After a few songs the audience finally outnumbers the band, and their cinematic sound actually manages to fill the whole room. The band’s fumbling is charming, and despite a few notes hysterically off key and a couple of loud feedback screeches, the musicians play as if they had performed many more shows than the two they so far have to their credit. Despite the general good quality of the show, the performance is totally down to Killerud. He plays his guitar so excitedly it’s a wonder his cap only falls off once, his voice creating a nice bubble of sunshine in the cold February night. By: Ingrid Brubaker Photo: Marie Blom
Bombus(SE) John Dee, 11:00 PM There is a revival of the old-school heavy metal. It is a breath of fresh air to a scene where you have to play faster and harder than everybody else to get anywhere. Bombus is a perfect example of going back to the basics. You can be as heavy as few others, without reshaping the landscape,so long as you have the riffs and the attitude that goes with it. At the John Dee venue we all got a music history lesson on what heavy metal is all about. Wide stands, thundering basslines, blistering riffs and a headbanging set of long hair that would have caused a havoc of groupies crawling all over your tour bus in 1978. Sadly, creating music that makes women want to crawl over a bus to get to you isn´t a quality well regarded in Scandinavia in the year 2013. But Bombus music gets you to believe it still makes sense. As always, good and pure heavy metal is well appreciated. If Geezer Butler himself was attending Thursday night, there is a probability his head would have been nodding in approval. By: Øystein Rasmussen Photo: Patrick da Silva Sæther
Foto: Pål Audestad
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Friday
Feb.
Review
JJ(SE) Kulturkirken Jakob, 11:00 PM There is an apparent logistic problem of letting every by:Larm band play in Kulturkirken Jakob, but there are few, if any, more beautiful venues in the city of Oslo. Maybe high arched ceilings and the smell of candlelight would shed magic on any band that plays in a church like this, but the husky voice of Elin Kastlander in particular seems right at home. The performance does however lack the characteristic “plinkyplonky sound” usually associated with JJ. And maybe it’s just the smell of Christmas and the huge painting of Jesus in the background, but it seems the band for the occasion is modeling Shabby Santa fashion. The set seems to be made for fans who already know they like JJ – for new listeners Kastlander looks and sounds a bit like Lana Del Rey after a particularly rough Christmas break. By all means an okay show, but a more typical JJ sound would have fit the venue even better. By: Ingrid Brubaker
15th
2013
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Panamah(DK) Mono, 11:00 PM To actually make people move about at ultra cool and blasé Mono is no small feat. Danish quartet Panamah manages just that - people swing from side to side in an orderly fashion, complete with handclaps when needed. One might call this Copenhagen four easily accessible, whether they are oozing out a ballad or move into club music territory. No doubt about it, Panamah do exactly one would expect Boy Scout musicians would do: The right thing. That isn’t always interesting when watching a band on stage, unless you’re in a tv show and this is the band playing in the background while you are delivering a well scripted monologue about feelings and stuff. They do have catchy songs, though, and lead singer Amalie Stender has a beautiful voice to back it up. It all works well, but it’s not until Panamah switches into their mother tounge, that’s when catchy really becomes interesting. By: Alexander Svanberg Photo: Henrik Kihlstrand
Ida Jenshus
Bendik Giske
Noonie Bao(SE)
Turbonegro
Rockefeller, 09:30 PM
Jaeger, 08:00 PM
Rockefeller Annex, 10:00 PM
WiMP teltet, 11:30 PM
There’s a moment early in Ida Jenshus’s set when she smiles in that professional manner that says she knows how to be liked. With a mild tremble in her voice, arms raised to her fans, a guitar solo in exactly the right place, and a melody that’s as challenging as chicken soup but still as nourishing. “Days Of Nothing” sets the tone for what follows. Polite, pleasant and decidedly middle of the road, Jenshus can only be faulted for lacking faults: it’s easy to understand why her three albums have been acclaimed successes in her native Norway, but one longs for the shock of the unexpected. Slick but anonymous, the glossy polish of these songs - as well as her band of expert session musician types - often smothers the sense that they’re the result of anything more than life lived through a tv screen. “Only Human”, however, swells to a more passionate climax, suggesting that, though she may be theatrical, she’s a great actress, if not an entirely original artist.
An exciting artist went from the ordinary to the extraordinary in half an hour. Bendik Giske’s show varies quite a bit. The first couple of songs are catchy, but lack some substance and comes across pretty ordinary. Giske does have a very sexual stage persona, and this takes away some of the focus on the musical qualities and clashes with the near and intimate lyrics. That being said, full credit for doing his thing wholeheartedly, and very well, too. It’s not until the former prizewinning jazz saxophonist Giske accompanies the heavy yet playful electronic beats with soulful, energetic solos, that he really finds a perfect equilibrium. His hit ‘Used to you’ is the highlight of the show, ending in an energetic explosive jam. Bendik Giske has a technically good voice. Still, the most interesting musical moments happen in the instrumental soundscapes he creates, and that is where his edge lies.
Swedish Noonie Bao, or Jonnali Parmenius which is her real name, has already proven herself as a talented songwriter and producer for e.g. Tove Styrke. Until recently, however, she has also displayed her talents as an artist, after having released her debut «I am Noonie», a product of five years of labour, late 2012. Noonie Baos’ mood is very difficult to read. While her lyrics are melancholic, and her voice is pleasant and clear, Noonie on stage, however, doesn’t give us a slightest indication of her mood. Her sharp voice, going high and low, and at times somewhat resembles the softer version of Joanna Newsom, together with dreamy melodies and a marching dance that fits her stature, is nevertheless very much entertaining as easy to listen to. With the aid from her guitarist and drummer, Noonie Bao is a promising debutant with an already interesting reportoire, but seemingly with no ambitions to break through as an artist for the average fan of the singer-songwriter genre.
Cranking the camp, Turbonegro are total legends. With a total understanding of the darkly comic undertow of rock ‘n’ roll, they exaggerate it with a comic book genius into a live show that is hilarious and terrifying at the same time. That’s some trick to pull off. New singer Tony has stepped into some big boots, but brings his own charisma to the party. No copyist, he adds a whole knowing persona to the band, looking like an old sea salt washed up on the shores of a Clockwork Orange droogy land. The band have tightened up, and their droning dumb rock n roll is as pure and brilliant as Iggy’s prime time Stooges. Stand out track? Dude Without A Face: funny, dark, catchy and as full of billowing sex noise as rock n roll should be.
By: Wyndham Wallace Photo: Mats Johannessen
By: Ingrid Ødegård Photo: Sigbjørn
By: Sean Erik Scully Photo: Isak Frøseth
By: John Robb Photo: Glenruben Engen Larsen
Friday
Feb.
Review
Ich Bin Nintendo John Dee, 10:00 PM
By: John Doran Photo: Glenruben Engen Larsen
WiMP teltet, 08:30 PM Despite already having played the tent last night, Thea & The Wild still attracted a fair amount of people their second time around. Norwegian singer-songwriter Thea Glenton Raknes – former Norma Sass vocalist – delivered energy and warmth from the first song to the last. Backed by a solid four-piece contributing catchy drumbeats and solid backing vocals that lifts the performance, it’s still Thea’s strong voice and presence that stole most of the attention on stage. The set starts of a bit monotonically, but then, about halfway through, Thea puts on her red guitar. She plays the brilliant pop track “Cry Sometimes”, from her upcoming debut album. As a performer, Thea is charismatic, humble and present, and she is sure to often mention how grateful she is to be playing at the festival. Based on her live performance, though, it might be the audience that should be grateful. By: Charlotte Todnem Photo: Glenruben Engen Larsen
2013
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Ulige Numre(DK) Gamla, 10:00 PM
When grindcore leapt out of Birmingham in the mid 80s, like an angry, blood spattered tramp from 28 Days Later, it was initially known for its aggression, sonic shock and demented velocity, not the high end technical proficiency of its musicians. As with every new form, though, the innovators were unfortunately overtaken in popularity by the well-rehearsed refiners. The scene’s original “looseness” made it attractive to other forward-looking musicians such as Cardiacs and John Zorn, though; and so it is in 2013, with Mats Gustafsson’s patronage of the relatively loose but totally groovy Ich Bin N!ntendo. Fukushima power blasts of extremely noisy terror are served with queasy guitar lines played in half and quarter time (which share more kinship with Cpt. Beefheart or Pussy Galore than Napalm Death) and the Godless noise of Skullflower and Whitehouse. It ends, as all good things do, with polite applause and a fat man screaming in ecstasy. (It’s me, in case you hadn’t guessed.)
Thea & The Wild
15th
The five young boys in Ulige Numre looked nervous entering the stage, but quickly became comfortable. Their touring all over Denmark last summer seemed to have helped them find confidence on stage. After two songs they add a trumpet and a trombone to the band, which gives their indie rock sound an extra dimension. They have som vibes from their Swedish neighbour, Håkan Hellström. They sing in Danish, and there are several nostalgic and poetic descriptions of their life in Denmark – including red wine, blue eyed girls, city life and emotions. Still, Ulige Numre has a sound that is rocked, and their vocalist Carl Emil Petersen has his own charming presence and unique voice. There is something innocent and young about their sound, which seemed to please the audience. When starting their last song “København” – which made the a breakthrough for Ulige Numre in Denmark – many stepped closer to the stage and started singing along. They also did the clever thing of dedicating the song to Oslo. By: Charlotte Todnem Photo: Jørgen Kvalsvik
Hvitmalt Gjerde Retro Stefson(IS) WiMP Annex, 10:00 PM
Sentrum Scene, 11:00 PM
There have been high expectations of Hvitmalt Gjerde in advance of their by:Larm concert. Their name has been mentioned a lot when people have been asked what they were looking forward to at by:Larm, and 400 people are gathered here to check out what the fuss is all about. The four man band from Bergen starts off with an explosion of sound heavily based on 60s surf rock guitars, their songs in Norwegian, their singer highly energetic, all of which reminds me of another Norwegian band: Honningbarna. It’s cold outside in Oslo today, but Hvitmalt Gjerde make a party in the tent. There’s dancing up front, and a lot of happy faces in the crowd, as the band do their best to connect with the audience using plain and simple rock n roll. With only 30 minutes to do so, they have no time for a warm up, but I still enjoyed it a lot, and they finished in the same way they started: with a bang!
Iceland is a small country with 320,000 inhabitants, but that has not stopped them from exporting big artists like Bjørk and Sigur Rós. The band I met as I walked into Sentrum Scene is also from Iceland, but they sound nothing like the previously mentioned artists. Retro Stefson’s music is hard to define. With seven young musicians on stage there is a lot of sound but they’re nonetheless tight. The girl with green tights dances with her synth hanging around her neck, while the bass player makes everything groove and the drummer plays some kind of disco beat. Lead singer Unnsteinn Manuel Stefánsson tries his best to make people come closer to the stage, shouting ´Scream Ahead´ while he’s jumping around on the stage. And the audience responds with screams of happiness and dancing. There are a lot of switches of musical elements, amongst them hiphop, R n´ B, rock, pop and soul. I can understand if this confuses you, but I would advise you to check it out for yourself.
By: Tina Johansen
By: Tina Johansen
DISASTER IN THE UNIVERSE Mono, 08:00 PM It says a lot about Oslo’s Disaster In The Universe that, after performing at Øya last year, British A&R guy/DJ Ross Allen listed them as his favourite act, while a pompous Pitchfork reporter described them as “The worst band in Norway (and, possibly, the entire world).” Any group that plays FUN music in front of a fake palm tree wearing tie-dye t-shirts and neon body paint is going to divide opinion. Yet the problem this self-styled “alternative rock band with influences from different continents and cultures” has tonight is that of being a creature out of its natural environment. Sunshine, good times, reggae… that’s the vibe of a band that had a hit last summer with a song called ‘Beach House’ and it was always going to be tough to translate that feeling to a dark club in winter. “If you help us to make fire, we will deliver,” said percussionist Calu. They didn’t quite, but nonetheless proved to be a well-oiled party machine with hooks aplenty. Outdoor festivals are theirs to rule. By: Phil Hebbletwaite Photo: Mats Johannessen
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Friday
Feb.
Review
Synne Sanden Revolver, 08:30 PM At the young age of 22, Synne Sanden has managed to accomplish quite a bit during her career, including an album produced by acclaimed jazz musician Bugge Weseltoft. During her show at Revolver she proved why great artists like him would want to work with someone as talented as her. Sanden’s set was driven by well structured pop songs, blended with a nice mix of groovy synths, catchy drums and airy electronics. It was topped off by the astonishing vocals of Sanden herself, as well as her backing vocalist Julie Kleive. Most of the songs were upbeat, playful tunes, with a few slower moments where Sanden really showed off her sensual vocals. She displayed an impressive range of emotions and must have caused goosebumps for several audience members, ending with the extremely smart and well crafted pop of ‘’The King of My Kingdom’’. When she took the stage, Synne Sanden seemed like any regular artist. By the time the set was finished, she’d turned into a true pop star. By: Petter Dotterud Anthun Photo: Marie Blom
Oyama(is) Revolver, 22:30 The past few decades, Icelanders has proven themselves ninja masters of the electronic music scene. With Sigur Ros, they took post-rock away from the almighty Canada. Now this tiny volcanic island has shifted focus, it’s people are attacking the shoegaze genre. And what do you know, with Oyama, Iceland gives those heroes of the nineties a run for their money. Fans of Sonic Youth, Pavement or My Bloody Valentine should easily be in high spirits when hearing this five piece, and you know you’re in for a treat when the lead guitarist has a pedal board the size of Reykjavík. He knows how to rock out, progressively building confidence during the course of the set, eventually ending up on the floor among the audience when crescendo time comes. In the midst of the sweet, reverb laden noise, a boy and a girl shares vocal duties, with laid back coolness, almost to the point where they ask if it’s okay they say a few words. Which it is, of course. BY: alxander svanberg
15th
2013
Slowolf(DK)
Mona & Maria
Mono, 10:00 PM
Sentrum Scene, 10:00 PM
Featuring a Wu-Tang rapper on your first album is no trifle, especially when your sound is as much indebted to dreamy electronic pop and black metal as it is to Mafioso rap. Appearing on stage at Mono, wearing nothing but a pair of tracksuit pants, Denmark’s Slowolf and his three band members break into the heavily distorted intro of “Seven Pt. 1”. Following up with “Battles”, the peculiar blend of influences that make up his distinct sound gradually become more discernible: Muddy, dense guitar chords contribute to a metal-style notion of apocalypse, but supported by heavy yet sharp beats and crisp synth melodies, the mood is undeniably lighter. It takes a few tracks for the delicate catchiness of Slowolfs’ falsetto vocals to come out properly – for a while they’re in danger of drowning in the larger picture. But when playing “Dance Floor” the balance is struck perfectly, providing a great showcase of this young artists’ unusually fresh sound.
With a perfect balance between vitality maturity, backed up by a band consisting of Oslo’s finest musicians, Mona and Maria are a delightful new act from Norway. These girls are armed with a nerve and quality that surpasses most of the bands and artists at this years festival. They make you feel like you are witnessing something beyond just a talented new act. Although Crosby, Stills and Nash, Fleetwood Mac and other folk legends shine through, they have managed to find a fresh professional and humble approach to a worn out genre. The First Aid Kit reference the audience were whispering about, is a too superficial comparison for an act like this. Introducing each song, giving humble thanks to the audience for showing up, small talking, but not to much; they were model hosts. Mona & Maria would be perfect for anyone with an empty spot to fill in their Saturday program.
By: Hanne Christiansen Photo: Jorunn Bakke Johannessen
By: Inger Lise Hammerstrøm Photo: Henrik Kihlstrand
Review
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Review
Friday
Feb.
Emile The Duke
Phil T.Rich
Mono, 06:00 PM
WiMP Annex, 08:00 PM
Emile the Duke strolls onstage. There is really no other word that aptly describes the way he moves. Sporting a beige suit, sneakers and slicked hair, he might as well have been some dude happening to wander onstage on karaoke night. Loudly stating “I’m the DUKE!” does however confirm that this is, in fact, the artist. It’s hard to judge Emile the Duke’s show as simply good or bad. Instances of audience interaction, like handing out cigarettes and beach balls, his fantastic race car-themed tie, and his tongue-in-cheek lyrics – calling Oslo “Sunny City” is at best optimistic – confuse the picture. The Duke is certainly interesting, and his beautiful rhymes about mundane aspects of everyday life, like frying eggs and bacon, actually makes up for the fact that the rhythm he seemingly has in his heart is not reflected in his body. “I don’t belong in the country,” he raps from stage, “I don’t belong on a farm.” But for some unfathomable reason, he does belong on a stage.
Choosing a pun as a stage name probably won’t make you a much cooler person, but then Phil T. Rich doesn’t really need to get much cooler than he already is. He’s already about as cool as it’s possible to get. He is so cool he should rap with his mittens on. He is so cool he can out-freeze the Oslo February night. Phil and his band – impeccably dressed and ridiculously good-looking, by the way – refuses to let the early slot stop them from seemingly having the time of their lives. The WiMP Annex rapidly filled up with people soon more resembling a late nightclub than a tent in a square at eight o’clock on a Thursday. Phil and the band spend more time off the ground than on, ceaselessly jumping and dancing and laughing. And then cool Phil and his beats make it hot. So hot he can melt the ice off Youngstorget. He can thaw the cold hearts of Oslo. And he sure knows how to move.
By: Ingrid Brubaker Photo: Jorunn Bakke Johannessen
By: Ingrid Brubaker Photo: Marie Blom
Monica Heldal Kulturkirken Jakob, 08:00 PM Inspired by America’s country and roots tradition, Monica Heldal’s already won British Mercury Prize nominee Ben Howard’s heart. Given her Stevie Nicks vocals, her Katie Melua looks and the growing Fleetwood Mac revival, his won’t be the last. Perched on a stool with an acoustic guitar, the aroma of votive candles in the air, the 21 year old’s songs are lent an earnest wisdom by her surroundings. “Scarlet” has a touch of the Emmylou Harris about it, seasoned guitar licks and understated percussion embellishing a delicate, nostalgic melody, while “Conman Coming” ramps up a blues influence. Credit’s also due for not overplaying the strengths of a beautiful, if not entirely distinctive voice: Her fingerpicking and tight band play a vital role in a display of tasteful, careful arrangements. Undeniably retro but genuinely accomplished, her songs don’t bite first time, but they lure one in with an impressive subtlety and more than a fair few delightfully unexpected twists and turns. By: Wyndham Wallace Photo: Sjur Fredriksen
15th
2013
Mariam The Believer(SE)
MF/MB/(SE)
Victoria - Nasjonal Jazzscene , 08:30 PM A young girl new to the city might be excused for not finding the Victoria Nasjonal Jazzscene, where Mariam The Believer was playing. I might even be excused for getting in a taxi taking me even further away from where Miriam’s powerful voice is already catching the. But as a new citizen of Oslo, that’s just sometimes the way the cookie crumbles. So I only got to hear the last two songs, which nevertheless gives a sense of the interesting nature of Mariam and her band. She doesn’t just sing with her voice – she sings with her whole body. Closing her eyes, apparently not because she is nervous, but because she becomes part of the music. Playful drums combined with synth and guitars fill the concert hall. The audience seems mesmerized as the swedish band plays songs from the critically acclaimed debut album “Blood Donation” which came out in january. Two songs. And then it’s all over. By: Tina Johansen
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Mono, 09:00 PM Judging by the sound of their recorded music one might expect MF/MB/ to have more of a shoe-gazing attitude, but even though their contact with the audience wasn’t brilliant, they delivered an energetic and aggressive show at Mono yesterday. MF/MB/ seemed to get more comfortable on stage during the concert, and consequently their performance improved towards the end of the show. Both their music and stage energy moved in the direction of punk, with very gentle guitar trashing and screaming vocals. And speaking of vocals - the voice of their female singer, with a Patti Smith-attitude, certainly lifted the quality of the show. With two drummers on stage and double vocalist power, MF/MB/ managed to steam up the rather small venue. While they might have made more of it, this certainly made their not especially ground-breaking sound more interesting.
By: Marta Revheim Photo: Jørgen Kvalsvik
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Friday
Feb.
Review
15th
2013
Friday
Feb.
Review
15th
2013
43 43
Broken Twin(dk) Kulturkirken Jakob, 9:00 PM Every Sunday for the past 15 weeks, Broken Twin – 24-year-old Dane Majke Voss Romme – has been posting a track on her Facebook page. Included are songs by Nina Simone, Daniel Johnson, Bonnie ‘Prince’ Billy, Scott Walker, Tom Waits, Stina Nordenstam, Nico, Lou Reed and Aphex Twin. This tells us that Majke is a woman of impeccable taste and it’s perhaps the most surprising selection – Aphex Twin – that’s also the most revealing. She chose ‘Avril 14’ – a sparse, solo piano track from the Drukqs album – and while it instantly reminds you of Broken Twin’s own music, you suspect that she came across it because she has a curiosity in electronic music. Indeed, washes of delicate, clever effects underpin the four tracks on her impressive debut EP, ‘Hold On To Nothing’. Listen to that EP and words like ‘oceans’, ‘sky’, ‘air’ and ‘beaches’ jump out at you. Broken Twin is an artist that takes inspiration from nature and yet her music also feels rootless. Contradictions are at play. She has a track called ‘The Light’, but her songs are melancholy and shaded; unsettling and awkward, but also realised and sumptuous. The short-hand is that she’s a singersongwriter not unlike fellow Scandinavians Ane Brun, Hanne Hukkelberg and Jenny Hval, and on the first track of her EP, ‘Beaches’, she also strongly resembles New York’s Sharon Van Etten – no bad thing. The test of an artist who performs fragile music live is whether they can stun an audience into silence and at by:Larm’s best venue, Kulturkirken Jakob, Broken Twin transfix. It’s a simple set-up – Majke on grand piano and a small Korg synth, alongside a violinist who also fiddles around with numerous effects pedals – that produces a fuller sound that seems likely. And, of course, in a church venue with such divine acoustics, Majke’s voice soars. The music is cautious, but her vocal is rich and if the market seems crowded by singer-songwriters, you realise tonight that Broken Twin stands apart because she’s so inherently soulful. BY: TOBBEN ÅRSLAND PHOTO: JENNY SOLEM VIKRA
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Red Bull Music Academy Night Oslo 14. februar kl 22.00
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Todd Terje Boska
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Friday
Feb.
By:larm Diary
15th
2013
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So by:Larm is upon me yet again
Text: john RobB
I
’ve been a few times, skidding up and down the icy Oslo pavements in an eternal rush to see great bands. That eternal fix of trying to hear something you’ve never heard before, or another twist in the plot, another tear in the musical fabric: by:larm has provided many of these over the years. I’ve experienced the fierce, glacial freeze of Oslo in the darkest winter, the shock of the cold made worse by my personal adversity to wearing sensible stuff like a padded anorak on account of its sartorial ugliness. This resulted in a near death experience at minus 45 in the fascinatingly strange sculpture park on the outakirts of Oslo, and that day ended up with a visit to the Longship Museum for the dual reason of a long held fascination with the Vikings and their fast ships, the raven at the helm looking for land ahoy, and the live Wardruna Youtube clip filmed at the same place. That clip is legendary in some circles, a perfect gig with amazing music played out in front of the perfect backdrop. Wardruna deal in neo-Viking folk with a black metal heart on faithfully recreated ancient instruments delivered in a museum. With longships. Perfect! By:larm is the best of the music festival/ conferences on the international circuit, with
a mind blowing variation of bands, from black metal droogs to winsome folk geeks live in holy churches, and on to impossibly gnarly-throated rock singers who like to mash their music with free jazz. It’s a music head’s dream, and way ahead of the normal mom and dad indie served up at these affairs. First up tonight was a trip to the Jazz Café to see Mariam The Believer. The esoteric singer has a CV that reads like the perfect 21st century life - Swedish born with an Iranian mother, and with a name like Mariam The Believer, you knew something interesting was going to happen. Live this was a trip back to the early seventies, to Sunset Strip LA freak rock with a neo-prog darkness and a touch of free form from a great band. Mariam’s vocals are a dark and unhinged beast full of sex, death and life, and the band are shit tight, switching moods and rhythms with ease. There are touches of Eastern mysticism, a
damp and sonorous darkness, those kind of wanderings that made The Doors so great, but with an almost trip hop modernity. This could be music from any decade, but is still somehow locked into the now. Harrabal are a blitzkrieg of punk rock energy in the bowels of John Dee, the cellar room which is perfect for punk rock shows. I’ve seen this crew before: they delivered then, and they’ve cranked it up since with an adrenalised mayhem. I’m not sure who invented the idea of the church gig, but it feels like it started at by:larm. Where once there was a thundering preacher raising hellfire on the cowering masses, now there are skinny indie kids singing their pretty songs. The hellfire is reserved for Norway’s groundbreaking metal and ferocious hardcore scenes, but the Kultuurkirkken Jacob is all aching space, and its stripped out insides resonate perfectly with
the quiet music of Sin Fang, a tattooed Icelandic beat hipster whose aching, yearning lo fi scuzz pop has a burning seriousness that sees him connecting beyond his homeland. Not averse to switching sounds, he also deals out the kind of churning, fuzzy punk rock of the Jonathan Richman school, those kind of songs that were so soaked in classic melodies in my radio rock ‘n’ roll dreams –with a foot to the fuzzbox joy – that they don’t have to be hidden by swathes of over-production. Ich Bin N!ntendo are meanwhile a great example of the freedom of sound in the post career world of 21st century rock. Their angular punk, free jazz noise is scorching and thrilling seat-of-the-pants stuff that crushes the audience into a smattering of terrified applause. I hit the streets and join the steady flow of Turbonegro fans dressed in their denim finery and clannish patches as they head towards the main square for an appointment with the campest and sweatiest freak show in rock roll… We are ready to testify in the strangest possible way.
To Be Continued…
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Friday
Feb.
#bylarmnews photo
Photography by Richard Ashton
15th
2013
Friday
Feb.
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47 47
Live schedule Friday 15th Scene
> 19
20
21
22
Changes might occur. Check bylarm.no for updates.
23
Last Train
00
:00 Bombus(S)
Nasjonal Jazzscene VICTORIA
:30 Hilde Marie Kjersem (N)
:30 Postiljonen (S)
Jaeger
:00 GAFFA presents: Nonono (S)
GAFFA presents: GAFFA presents: GAFFA presents: :00 Pandreas(N) Vinnie Who (D) :00 Rangleklods(D)
Gamla
:30 Ásgeir Trausti(I)
01 >
:00 Okkultokrati(N)
:30 Goran Kajfes Subtropic Arcestra (S)
:00 House Of Mystery(N)
:00 Broken Twin (D)
:00 Stig (F)
:00 Anja Kløve (N)
01:00 Cazadores(N)
:30 Intertwine (N)
:30 Autolaser(N)
:30 Slowolf (N)
:30 Panamah (D)
:30 MØ(D)
01:30 Nause (S)
:00 Elliphant(S)
:00 Holograms(S)
:00 Blood Command(N)
:00 Turbonegro (N)
:00 Hvitmalt Gjerde (N)
WiMP-teltet
:30 Razika (N)
:30 Kråkesølv(N)
:30 Taken By Trees(S)
:30 JJ (S)
:30 Bottled in England (D)
01:30 Alina Devecerski(S) 02:30 LCMDF(F)
WiMP annex
:00 Anna von Hausswolff (N)
:00 Linnea Henriksson (S)
:00 Altmodisch (D)
:00 Adam Kanyama (S)
:00 Verdensrommet
01:00 Ulige Numre (D) 02:00 Tako Lako (D)
Stratos Mono
18.00: Say Lou Lou (S)
(N)
Sentrum Scene
:00 Philco Fiction (N)
:00 Monica Heldal(N)
:00 Johnossi(S)
01:00 Oslo Ess(N)
P3 presents: :00 Phantom (F)
P3 presents: :00 Thea & The Wild (N)
P3 presents: :00 Kaveh (N)
P3 presents: :00 Indians(D)
P3 presents: 01:00 Truls(N)
:00 Neneh :00 Billie Van (N) Cherry & RocketNumberNine (S)
John Dee
Rockefeller
:30 Cockroach Agenda (N)
:30 Vithr(N)
:30 Nidingr(N)
:30 God seed (N)
:30 Shining (N)
Rockefeller Annex
:00 Bits Between (N)
:00 Solen (S)
:00 Black Twig (F)
:00 MF/MB/(S)
:00 Winhill/ Losehill(S)
Herr Nilsen
:30 Eva & Manu (F)
:30 Guðrið Hansdóttir(FÆ)
:30 Matilda (N)
:30 Noonie Bao (S)
:30 Lay Low(I)
Revolver
:30 CTM (D)
:30 Urban Cone (S)
:30 Arlie Mucks(N)
:30 Colleagues(S)
:30 Ekkolodd (N)
Kulturkirken Jacob
:00 ENO presents: Kid Exodus(N)
ENO presents: :00 Delay Trees(F)
ENO presents: :00 Mariam The Believer(S)
ENO presents: :00 Tusmørke (N)
ENO presents: :00 Efterklang(D)
Cross Road club
:30 Honningbarna (N)
:30 French Films(F)
:30 Howl baby Howl(D)
RED BULL @ BLÅ
:00 Boska (N), Todd Terje (N)
Turkish Delight
ENO presents:
NAUSTET
23.00-03.00: Diskjokke 23.00-03.00 Bjørn Torske DJ set
Seminar schedule Friday 15th Ragnarock
SoWhat!
10.15 10.30
11.00
WiMP presents: The streaming future is here. What do we do now?
11.15 11.30 11.45 12.00 12.15
WiMP presents: From studio to stream – sound quality in the digital age
12.30 12.45 13.00 13.15
Musikkeksporten i Sverige og Norden Ved Elisabet Widlund og Jesper Thorsson
Who pays the piper calls the tune? Eller hvordan kan de nordiske kunstråd best støtte musikklivet? Moderated by Katrine Nyland Sørensen
The Curious Career of Rocky Schenck: Thirty years of Art, Music Videos, Films and Photography By Rocky Schenck
13.30
14.30
To Infinity and Beyond: The Art of the Archive Moderated by Audun Vinger
Rock City presenterer: Dan Eggen – om å nå sine mål Ved Dan Eggen
15.00
15.30 15.45
Stuart Maconie in Conversation Interviewed by: TBA
Changes might occur. Check bylarm.no for updates.
Club7
Edderkoppen 10.00 10.15
Rookie to Whiz presents: the Music Ally sessions Live gets digital
Balansekunst – informasjon om ny støtteordning.
Musikkutstyrsordningen presents: It´s a man´s world…. or is it?
NOPA presents: Ralph Murphy – part 2 Songwriters Masterclass (Closed workshop, registration in advance)
Presented by MuO
10.30 10.45
11.00 11.15 11.30 11.45
Norsk Rockforbund presents: The future of concerts Moderated by Paal Ritter Schjerven, Popsenteret
Rookie to Whiz presents: Music Ally training sessions Cool Tools for Creatives
Rookie to Whiz presents: the Music Ally sessions Investing in Music
12.00 12.15 12.30 12.45 13.00
Norsk Rockforbund presenterer: Utfordringer ved midlertidige konstruksjoner
Norsk Rockforbund presenterer: Arrangørsektoren Ukultur vs. Lovverk
13.15
Deezer – a presentation By Deezer
Rookie to Whiz presents: Music Ally training sessions Great Marketing Campaigns
Kun etter invitasjon
15.15
Rockefabrikken
Rookie to Whiz presents: Music Ally training sessions Advanced Facebook
Ordstyrer: Lars Tefre Baade
14.00
14.45
Bootleg
By Anna Hildur Hildibrandsdóttir and Anders Engströn
13.45
14.15
Safety Pin The Nordic Playlist – a New export and marketing tool for Nordic music
10.00
10.45
01:30 Bowandarrow(N)
Rookie to Whiz presents: Music Ally training sessions Emerging Platforms
13.30 13.45 14.00 14.15 14.30 14.45
Rookie to Whiz presents: the Music Ally sessions From a trickle to a stream
15.00 15.15 15.30 15.45
16.00
16.00
16.15
16.15
16.30 – 17.30: Lenny Kaye Sted: Mono, Pløensgate 4
18:00 – 19:30: Kim Gordon – Q&A Interviewed by Anne Hilde Neset Sted: Internasjonalen