Tag: Copenhagen Denmark

With the release of 2016’s Waiting For The World To Turn, 2018’s Nowadays and last year’s . . . Keep Dreaming Buddy, the acclaimed Copenhagen, Denmark-based indie duo and JOVM mainstays  Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — have received critical acclaim for an effortlessly genre defying sound described by some as a country krautrock and cinematic pop.

Citing an eclectic array of influences on their sound and approach including Kendrick Lamar, Ennio Morricone, and Little Richard, the duo’s critically applauded material is generally centered around a number of different elements, but Palace Winter’s Caspar Hesselager wanted to strip the layers back of their material down to the bare bones. “As much as I love the process of production and building entire universes from scratch for each song, there’s something extremely gratifying about playing ‘the core’, or bare bones of the song on a single instrument. Many of our songs are built from playing acoustic guitar and piano together in the same room, and whenever we’ve had the chance, we’ve always had so much fun just going back and re-discovering our songs in that setting.”

Slated for an August 27, 2021 release through the duo’s longtime label home, Tambourhinceros Records, 6 Songs (solo piano) sees Palace Winter’s Casapar Hesselager playing piano-based interpretations of six songs across their catalog. The EP allows Hesselager to step out into center stage. 6 Songs (solo piano)‘s first single sees Hesselager turn Waiting for the World to Turn‘s twangy and anthemic “Soft Machine” into a brooding and meditative composition centered around an intimate and unfussy production. Besides being gorgeous, “Soft Machine (solo piano) reveals the classical and jazz underpinnings of their work, as well as their deliberate attention to craftsmanship.

The acclaimed JOVM mainstays will be embarking on a 16 date European Union and UK tour this fall. The tour marks their first international tour in over three years. Tour dates below

Tour Dates

Sep. 16 @ Harders, Svendborg, DK
Sep. 18 @ VEGA, Copenhagen, DK
Sep. 21 @ Gimle, Roskilde, DK
Sep. 23 @ Radar, Aarhus, DK
Sep. 24 @ Studenterhuset, Aalborg, DK
Sep. 25 @ Studenterhuset, Odense, DK
Nov. 15 @ Nochtwache, Hamburg, DE
Nov. 16 @ Privatclub, Berlin, DE
Nov. 17 @ Blue Shell, Cologne, DE
Nov. 18 @ Paradiso, Amsterdam, NL
Nov. 20 @ Lafayette, London, UK
Nov. 22 @ The Hope & Ruin, Brighton, UK
Nov. 23 @ Thekla, Bristol, UK
Nov. 24 @ Gorilla, Manchester, UK
Nov. 26 @ King Tut’s Wah Wah Hut, Glasgow, UK
Nov. 27 @ The Wardrobe, Leeds, UK

New Video: Rising Umeå Sweden-born Copenhagen-based Artist Lucky Lo Encourages Radical love and Vulnerability

Lo Ersare is a Umeå, Sweden-born, Copenhagen-based singer/songwriter, musician, and the creative mastermind behind the emerging indie pop project Lucky Lo. Ersare relocated to Copenhagen in 2014 and quickly made a name for herself as a busker and as an integral part of the city’s underground music scene, performing everything from folk to experimental jazz to improvisational vocal music. Along the way, her love for Japan and its music brought her to the island nation, where she has performed, grown a devoted fanbase and gathered inspiration, which has seeped into her music in various ways.

Ersare released her Lucky Lo debut single “Heart Rhythm Synchronize.” Released last month, the song was about synching heartbeats through love and song. Ersare’s latest single “Supercarry,” features the Swedish-born, Danish artist’s soaring and achingly plaintive vocals paired with an expansive arrangement featuring a sinuous and propulsive bass line, layers of shimmering and buzzing guitars and thumping beats. The end result is a song that expresses the deeply human need for companionship, compassion and love. Seemingly sounding like a sleek and seamless synthesis of Annie Lennox and Peter Gabriel, “Supercarry” thematically finds Ersare quickly establishing a major thematic concern in her work — the transformational power of radical love.

“In Scandinavia we have an incredible safety net. We live a safe, rich lifestyle on paper, but we are also the countries where the most people die alone,” Ersare says in press notes. “We have the capacity to be more inclusive, and we could use this power for the good of others and for enriching our lives.” Ersare continues “So much could be solved if we were to take more care of each other — check in with each other more. It makes you feel strong; like a good human being; an everyday superhero. The idea of doing the opposite of self, or that social care is self-care, is what I want to communicate. This song is about lifting others up, and letting yourself be lifted. It is about putting someone else’s needs in front of your own, and trusting that you will get the same care in return.”

irected by Philip Jørgensen, the recently released video is an 80s-inspired dance workout tape featuring choreography by Freja Kreutzfeldt that’s at points playful, sensual and full of longing and vulnerability as each dancer is seen being lifted up, treated tenderly and let go. “Our vision was to unite people in an act of Supercarry-ing through a choreography in which people are both being lifted up and let go… a celebration of the strength of vulnerability,” Ersare explains. “We want to encourage people to get up, move and take action—to Supercarry and to be Supercarried.”

New Video: Copenhagen’s School of X’s Nightmarish Visual for Upbeat “Feel of It”

mus Littauer is a Copenhagen-based singer/songwriter, producer and multi-instrumentalist and creative mastermind behind the rising indie pop project School of X, which finds Littauer stepping out into the limelight as a solo artist after years as a touring drummer.

lishment, experimental art school, which featured Andy Warhol collaborator Jørgen Leth, art historian Troels Anderson and artists Soul Genres and Per Kirkeby. “It was about learning from each other and being progressive,” Littauer explains. “There were no labels — anyone could join. That philosophy is so cool and I really admire all those artists.”

Unsurprisingly, Littauer created a collective with a similar ethos: Over the past decade, Littauer has worked with the likes of Liss, MØ, Clairo, Deb Never as a producer, songwriter or musician. And with School of X, Littauer has collaborated with Half Waif’s and Empress Of’s Spencer Zahn, Hinds’ Anna Perrote, Lord Siva and Soleima. Littauer runs a studio in Copenhagen’s Nørrebro District with friend, collaborator and fellow producer Vera. The rising Copenhagen-based singer/songwriter, producer and multi-instrumentalist also hangs in the same circles as Yangze, Vasco and Liss.

ophomore album Dancing Through The Void is slated for a September 24, 2021 release through Tambourhinoceros Records. And as the Copenhagen-based artist explains in press notes, the album is “an ode to live and be exactly who you are no matter the noise that surrounds you.” Dancing Through The Void’s latest single “Feel Of It” is a breezy pop song centered around angular guitar blasts, thumping beats, a propulsive bass line, Littauer’s plaintive vocals and a rousingly anthemic, sing-a-long friendly hook — and this is before we hear the expressive Rhodes solo! And while revealing a songwriter, who can craft earnest yet arena rock-like material, the song as Littauer explains in press notes is “about the desire to break out of daily routines and boredom, craving for headspace, excitement and bigger emotions. It’s a desire that seduces me and haunts me and sometimes comes with a cost, Sometimes you end up alone because you’ve been blinded by the light.”
Directed by Isaac Production’s SIf Lina, the recently released video for “Feel Of It” follows a shirt and tie wearing Littaeur as he’s chased by a man engulfed in flames. Initially, we see Littauer running for his life with a look of complete and thorough, piss-your-pants terror; but as the video progresses, he seems to embrace the chase and the oddness his immediate situation with a wry “oh-what-the-hell” smirk.

“The idea for the video was to do something really precise and conceptual with strong symbolism: the fire hunting the man.” says Littauer. “It symbolizes all these emotions and temptations that you struggle with, and how they either push you ahead or bring you down.”

Live Footage: Palace Winter’s Tennis Court Session–“1996”

The Copenhagen, Denmark-based pop duo and JOVM mainstays Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — built upon a rapidly growing profile regionally and internationally, with the release of their sophomore album 2018’s Nowadays.

Nowadays found the Danish pop duo firmly cementing their sound — carefully crafted, melodic and hook-driven, 70s AM radio rock-inspired pop paired with deep thematic concerns. Thematically, the Danish act’s sophomore album touched upon the loss of innocence and adulthood; the freedom and power that comes as one takes control of their life and destiny; and the the sobering life lessons that come about as one gets older.

Palace Winter’s third album . . . Keep Dreaming Buddy was released earlier this year through the band’s longtime label home Tambourhinoceros Records. Unlike their previously released material, the album was written through a long distance correspondence, as the band’s Carl Coleman was residing in an empty, retro hotel in Tenerife, Canary Islands, Spain. Coleman’s lyrics were inspired by Tenerife’s unique landscape while drawing metaphorical parallels between Mt. Teide, a dormant volcano, which is also one of Spain’s tallest peaks, and the looming fear of a relationship about to disintegrate.

“I was walking around this weird volcano island. The retro hotel was like a forgotten paradise resort. The whole thing felt like a Lynchian alternate reality,” Palace Winter’s Carl Coleman recalls. “Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone.” And as a result, the album is figuratively and literally a tale of two cities and two completely different — yet oddly related — emotional states.

Over the past handful of months, I’ve written about four of the album’s released singles:

Top of the Hill,” was a great example of the album’s overall tale of two cities and two completely different emotional states. Featuring shimmering and icy synths, thumping beats and an enormous, arena rock friendly hook paired with Coleman’s volcanic imagery-based lyrics, the song captures the bubbling dissatisfaction, boredom, frustration and distrust of a relationship about to boil over and explode.
“Won’t Be Long,” . . . .Keep Dreaming Buddy‘s second single was an expansive song that featured elements of arena rock, glam rock and synth pop, complete with a rousingly anthemic hook, a crunchy power chord-driven riff, shimmering synth arpeggios and strummed guitar. But interestingly enough, the song is actually deceptively and ironically upbeat as it tackles the anxiety of anticipatory grief, as it focuses on a narrator, who is preparing for the inevitable loss of a dear, loved one. Loss and despair are always around the corner, indeed.
“Deeper End,” the album’s third single was a decidedly genre-defying affair that found the duo pushing their sound in a new direction without changing the essentially elements of the sound that has won them attention internationally. Featuring an infectious hook, shimmering synth arpeggios and strummed guitar, the breezy song is one part synth pop. one part 70s AM rock, one part country — but while centered around an unusual juxtaposition: the song as the band’s Carl Coleman explains is “a story about a bad trip at a weird house party I went to with my sister.” Granddaddy’s Jason Lytle contributes a guest verse to the song, a verse in which his character dispenses harsh yet very trippy truths to the song’s hallucinating and anxious narrator.
“Richard (Says Yes),” a playful, thematic left turn that finds the duo writing a big, upbeat party them — but while pushing their sound in a new direction. Centered around their unerring knack for crafting an anthemic hook, “Richard (Says Yes)” is a remarkably proggy take on their sound.

Earlier this year, the duo, along with their backing band filmed a live session from the tennis court of Copenhagen hotel, practically abandoned as a result of the pandemic. So in some way, the live session finds the band returning to the sort of surrealistic hotel scenes, which informed the album’s material. The sessions included live versions of two of my favorite songs off the album — the aforementioned “Won’t Be Long” and “Top of the Hill.”

The last Tennis Session features . . . Keep Dreaming Buddy’s latest single , the slow-burning “1996.” Featuring a shimmering synth arpeggios, stuttering drumming, strummed acoustic guitar and a bluesy electric guitar solo paired with Coleman’s plaintive vocals, “1996” describes a romantic relationship at a major crossroads in which both parties don’t quite know if it’s worth fighting for or not. Sonically, the song — to my ears at least — manages to bring The Cars “Drive” to mind, as it possesses a similar longing to get it right one way or the other.

Unlike the previous videos, this particular session eventually pans into the empty hotel. which gives the entire proceedings a dream-like feel.

Live Footage: Palace Winter’s Tennis Court Sessions

The Copenhagen, Denmark-based pop duo and JOVM mainstays Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — built upon a rapidly growing profile regionally and internationally, with the release of their sophomore album 2018’s Nowadays.

Nowadays found the Danish pop duo expanding around the sound that had already won them praise: breezy and melodic, radio friendly pop centered around heavy thematic concerns and lived-in songwriting. Thematically, the album touched upon adulthood and the loss of innocence; the accompanying tough and sobering life lessons as you get older; the freedom and power that comes as one takes control of their life and destiny and so on.

Palace Winter’s highly anticipated third album . . . Keep Dreaming, Buddy dropped today, and unlike their previously released material, the album was written through a long distance correspondence as Carl Coleman was residing in Tenerife, Canary Islands, Spain. “Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, they also draw metaphorical parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks, and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities and two completely different emotional states.

Over the past handful of months, I’ve written about four of the album’s released singles:

Top of the Hill,” was a great example of the album’s overall tale of two cities and two completely different emotional states. Featuring shimmering and icy synths, thumping beats and an enormous, arena rock friendly hook paired with Coleman’s volcanic imagery-based lyrics, the song captures the bubbling dissatisfaction, boredom, frustration and distrust of a relationship about to boil over and explode.
“Won’t Be Long,” . . . .Keep Dreaming Buddy‘s second single was an expansive song that featured elements of arena rock, glam rock and synth pop, complete with a rousingly anthemic hook, a crunchy power chord-driven riff, shimmering synth arpeggios and strummed guitar. But interestingly enough, the song is actually deceptively and ironically upbeat as it tackles the anxiety of anticipatory grief, as it focuses on a narrator, who is preparing for the inevitable loss of a dear, loved one. Loss and despair are always around the corner, indeed.
“Deeper End,” the album’s third single was a decidedly genre-defying affair that found the duo pushing their sound in a new direction without changing the essentially elements of the sound that has won them attention internationally. Featuring an infectious hook, shimmering synth arpeggios and strummed guitar, the breezy song is one part synth pop. one part 70s AM rock, one part country — but while centered around an unusual juxtaposition: the song as the band’s Carl Coleman explains is “a story about a bad trip at a weird house party I went to with my sister.” Granddaddy’s Jason Lytle contributes a guest verse to the song, a verse in which his character dispenses harsh yet very trippy truths to the song’s hallucinating and anxious narrator.
“Richard (Says Yes),” a playful, thematic left turn that finds the duo writing a big, upbeat party them — but while pushing their sound in a new direction. Centered around their unerring knack for crafting an anthemic hook, “Richard (Says Yes)” is a remarkably proggy take on their sound.

Earlier this year, the duo — with their backing band — filmed a live session from a Copenhagen tennis court. The session featured live versions of two of my favorite songs off the new album: “Top of the Hill” and “Won’t Be Long.”

New Video: Acclaimed Scandinavian Soul Artist Jonas Releases a Strutting Ode to Self-Care

Copenhagen-based singer/songwriter and multi-instrumentalist Jonas (born Jonas Rendbo) has been hailed by international press as the Godfather of Scandinavian Soul throughout the course of his 20+ year music career. Renbo has managed to be remarkably prolific, releasing a ton fo his own original music, which he has supported with tours sharing stages with the likes of internationally applauded artists like Omar, John Legend, Joss Stone, Lynden David Hall and Bilal among a lengthy and growing list of others. Adding to his accolades, Rendbo won Artist of the Year and Best Video at the 2016 Scandinavian Soul Music Awards.

Since 2004, Rendbo has split time between Copenhagen and London, where he met his wife and started a family. And while in London, he started collaborating with London-based multi-instrumentalist and producer The Scratch Professor, who coincidentally is Omar’s brother. Rendbo and The Scratch Professor had an instant musical simpatico and a couple of songs they wrote together wound up on Jonas’ sophomore album 2009’s W.A.I.T.T.

Their collaboration also managed to produce a handful of songs that the Copenhagen-based singer/songwriter had kept in his vault over the past decade or so— until he released them as the four song EP EP 4ward Fast To Future. Recorded, produced, mixed and mastered during COVID-19 quarantine lockdown during April, the EP is return to the warm, neo-soul sounds of his earliest work. Earlier this year, I wrote about “Pick Me Up,” a warm, 90s neo-soul track, centered around shimmering Rhodes, boom bap-like beats, a sinuous bass line, a strutting horn line, an infectious hook and Rendbo’s sultry and plaintive falsetto. And while being a joyous, two step-inducing, radio friendly jam, the song’s narrator talks about desiring — and then having — the sort of love (and lover) that most of us dream of: that ride or die person, who’s with you and supports you through thick and thin, joy and heartbreak, sickness and health.

The EP was released to widespread praise across the blogosphere including SoulBounce.com, ScandinavianSoul.com and was a featured album on SoulTracks.com. Additionally, the EP’s material received airplay on soul music ration station across the globe. Building upon that momentum, the Danish-born singer/songwriter released teh 4ward Fast to Future (Remixes) which features remixes of some of the EP’s material by friends and musical collaborators, done inc completely different styles. But in the meantime, Renbo released the EP’s latest single, the slow-burning “What’s Cooking.” Much like it’s predecessor, the track is centered by twinkling Rhodes arpeggios, a sinuous bass line, strutting horns and Renbo’s plaintive vocals; however, the song finds its narrator wanting to simply his life and find himself in his own terms while living in a chaotic world.

Featuring video graphics and editing by Jacob Vinjegaard, the recently released video for “What’s Cooking” is shot with a grainy Instagram-like filter and follows Renbo in some intimate and trippy footage.

With the release of 2018’s sophomore album Nowadays, the Copenhagen, Denmark-based pop duo and JOVM mainstays  Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — built upon a rapidly growing profile regionally and internationally, with the album’s material finding the duo expanding upon the sound and songwriting approach that won them praise: breezy and melodic, radio friendly pop with heavy thematic concerns. The album’s material touched upon adulthood and the loss of innocence; the accompanying tough and sobering lessons of life as you get older; the freedom and power that comes as one takes control of their life and destiny and so on. But it was also unpinned by profound grief of loss. Life, after all is about recognizing that immense heartbreak and devastating loss are part of the price of admission, and that somehow you have to figure out a way to move forward.

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records, and unlike their previously released material, . . .Keep Dreaming, Buddy‘s material was written through a long distance correspondence as the band’s Coleman was residing in Tenerife, Canary Islands, Spain. “Caspar was sending me these synth hooks and drum loops from Denmark, so I started coming up with melodies and lyrical ideas to record into my phone,” Coleman says of the writing sessions. While Coleman’s lyrics were inspired by Tenerife’s unique landscape, they also draw metaphorical parallels between Mt. Teide, a dormant volcano, which also is one of Spain’s tallest peaks, and the looming fear of a relationship disintegrating, Hesselager’s instrumental parts were inspired by Copenhagen’s landscape. And as a result, the album’s material is literally a tale of two cities and two completely different emotional states.

Over the past handful of months, I’ve written about three of the album’s previously released singles:

  • Top of the Hill,” was a great example of the album’s overall tale of two cities and two completely different emotional states. Featuring shimmering and icy synths, thumping beats and an enormous, arena rock friendly hook paired with Coleman’s volcanic imagery-based lyrics, the song captures the bubbling dissatisfaction, boredom, frustration and distrust of a relationship about to boil over and explode.
  • Won’t Be Long,” . . . .Keep Dreaming Buddy‘s second single was an expansive song that featured elements of arena rock, glam rock and synth pop, complete with a rousingly anthemic hook, a crunchy power chord-driven riff, shimmering synth arpeggios and strummed guitar. But interestingly enough, the song is actually deceptively and ironically upbeat as it tackles the anxiety of anticipatory grief, as it focuses on a narrator, who is preparing for the inevitable loss of a dear, loved one. Loss and despair are always around the corner, indeed.
  • Deeper End,” the album’s third single was a decidedly genre-defying affair that found the duo pushing their sound in a new direction without changing the essentially elements of the sound that has won them attention internationally. Featuring an infectious hook, shimmering synth arpeggios and strummed guitar, the breezy song is one part synth pop. one part 70s AM rock, one part country — but while centered around an unusual juxtaposition: the song as the band’s Carl Coleman explains is “a story about a bad trip at a weird house party I went to with my sister.” Granddaddy’Jason Lytle contributes a guest verse to the song, a verse in which his character dispenses harsh yet very trippy truths to the song’s hallucinating and anxious narrator.

“Richard (Says Yes)” . . . .Keep Dreaming Buddy‘s fourth and latest single is a bit of a playful, thematic left turn that finds the duo simply wanting to write a big, upbeat, party anthem centered around an expansive song structure, featuring alternating breakneck loud sections and quieter, completive section. While continuing a run of singles that find the band pushing their sound in a new direction — in this case, a sort of proggy take on their breezy yet melancholy pop — the new single further cements their unerring knack for crafting rousingly anthemic hooks. Much like the album’s previously released singles, “Richard (Says Yes) finds the members of Palace Winter collaborating with Penny Police‘s Marie Fjeldsted and saxophonist Ned Ferm.

Interestingly, the song was inspired by a documentary on Jimi Hendrix, which featured the equally legendary and outrageous Little Richard (whom Hendrix, once played for in the early days of his career). “Little Richard came on and we were both just floored by how f***in’ alive and funny and inspiring he was. So, he kind of became this little team mascot for us. Like, just do it ALL! ‘Put some sugar on it, man! MORE!’ So this song is exactly that. Richard says yes to f***in’ EVERYTHING!” Palace Winter’s Carl Coleman says. It’s a “big colourful banger to fill the canvas.”

Richard (Says Yes)’ has this really extroverted, larger-than-life feeling about it. You can’t bring it down. It’s just a machine that runs over everything. I get these almost synesthesia-like moments when listening to it,” adds the band’s Caspar Hesselager.

New Video: Copenhagen’s why sun Releases a Murky and Insistent New Single Paired with Creepy Visuals

why sun is a rising Copenhagen, Denmark-based noise rock act — Rasmus Kjærsgaard Velling, Lasse Skydsgaard Knigge and Julius Emil Brinck — that initial received attention across both their native Denmark and across Scandinavia for a dark and melancholic sound they’ve dubbed “sleepy noise,” which referenced and drew from the likes of Suicide, The National and The Jesus and Mary Chain.

Last year, the band released their Frugte EP (“frugte” is Danish for fruit), and the EP featured two critically applauded, attention-grabbing singles “Eastern Love” and the slow-burning dirge “Traffic,” which found the act meshing elements of shoegazer and industrial clang and clatter. The band continued the momentum of last year with a Eurosonic 2020 set earlier this year.

Building upon a growing profile across both Scandinavia and Northern Europe, the rising Danish act released the “Streetlight”/”White Sleep” double single last month. “Streetlight,” the first single finds the band moving towards an even darker, more forceful sound centered around droning guitars and feedback, driving rhythms, industrial clang and clatter paired with vocals that alternate between a sultry croon and wild shouts. While evoking a desperate howl into an indifferent — and often cruel — universe, the song finds the act seemingly meshing Joy Division, Sisters of Mercy, and Suicide into a unified and brutally forceful sound.

The recently release video by Frederik Sonne is an equally murky and creepy visual featuring home videos recorded at various points in 1993 including some footage which seems to have been shot in a senior home, brief segments of 90s TV shows.