Over the past couple of months, I’ve written a bit about the Copenhagen, Denmark-based duo IRAH, and as you may recall, with the release of 2016’s mini-album Into Dimensions, the duo, which is comprised of Stone Grøn (vocals) and Adi Zukanović (keys) quickly received attention across the blogosphere for a unique take on atmospheric pop that’s ethereal yet earthy.
Slated for a May 24, 2019 through Tambourhinoceros Records, the Danish duo’s forthcoming Mads Brinch Nielsen and IRAH-co-produced full-length debut Diamond Grid was written in between tours across Europe, features renowned drummer Seb Rochford, who has toured with the band, playing drums on all but one track — the album’s gorgeous Kate Bush and Junip/Jose Gonzalez-like first single “Unity of Gods,” a track that was centered around a sparse yet propulsive arrangement of twinkling keys, hushed drumming, and ethereal and plaintive vocals singing lyrics about seeking oneness. Diamond Grid‘s second single was the Kate Bush meets Bjork-like”Siu Hinama,” which featured Grøn’s primordial chanting ethereally floating over atmospheric synths and propulsive drumming — and while continuing in a similar vein as its immediate predecessor, the track manages to evoke an ancient tribal ritual.
“Cinematic,” Diamond Grid‘s third and latest single is centered around a hauntingly sparse arrangement featuring shimmering keys, hushed drumming and Grøn’s plaintive vocals, the aptly titled song possesses an achingly plaintive quality.
The Sarajevo, Bosnia-born, Copenhagen-based Zukanović and his family fled to Denmark, when the bloody and brutal Balkan War broke up. At the time, Zukanović was 4. Interestingly, in the refugee center’s playroom, a young Zukanović found a small keyboard and quickly discovered the power and tranquility of music. As an adult, Zukanović is one of the most sought-after keyboardists and pianists in Denmark — and he has arranged music for several Danish symphony orchestras.
Directed by Jakob Steen and Samina Bazai, the recently released video primarily consists of home video footage that Zukanović and his family shot during his first years immigrating to Denmark and his first trips back to Bosnia after the war. While imbued with an inconsolable loss over the people and homeland that he will never have again, the video brings the consequences of war and time directly to the viewer — in particular, a war that now seems both distant and yet somehow relevant. “We dove into the picturesque colors of the VHS tapes, and deliberately tried to listen to, and understand, the material, rather than manipulating it, or making it more aesthetically appealing, the video’s directors explain in press notes. “We tried to follow the song’s own logic and inherent narrative structures, as well as the associative connections between the sound, imagery and words.”