Tag: Tambourhinoceros Records

New Video: Lucky Lo Releases a Swooning and Euphoric Anthem to Queer Love

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’s full-length debut, Supercarry is slated for a March 25, 2022 release through Tambourhinoceros Records. The album will feature previously released single “Heart Rhythm Synchronize,” which was about synching heartbreaks through love and song and album title track “Supercarry,” a sleek and seamless synthesis of Annie Lennox and Peter Gabriel, that thematically finds Ersare quickly establishing a major thematic concern in her work — the transformational power of radical love.

Supercarry’s latest single, “Ever” is a swooning and infectiously optimistic pop song centered around glistening synth arpeggios, a strutting disco-inspired bass line, shimmering and reverb-drenched guitars, a rousingly anthemic hook and Ersare’s plaintive pop belter vocals. Arguably, the most dance floor friendly of the album’s released singles, “Ever!” brings Talking Heads, and Annie Lennox to mind paired with the euphoria of Sylvester‘s queer anthem “You Make Me Feel (Mighty Real).

Lyrically, the song’s narrator has found a way to transform the hardships of living in a cruel and judgmental world that won’t allow them to be themselves into a deep, sustaining hope and confidence; the sort of quiet confidence to be self-assured in whatever your truth may be. As Ersare explains the song is an anthem for queer love.

The inspiration for the song began deep inside a YouTube rabbit hole. Ersara was binging on Freddie Mercury videos one night. That eventually lead to her researching the AIDS epidemic of the 80s, and the blacklash of homophobia the gay community felt back then.

She came across a video of a gay man, who bravely announced to a reporter that no amount of homophobia could keep gay people from loving each other that struck her as timeless. Since the dawn of society, gay people have been — and will keep on — loving in secret, despite antagonism, until the world eventually accepts them.

This video resonated with the Umeå-born, Copenhagen-based artist, who was then inspired to make a song for “anybody, who feels they are living a truth in secret can listen to, dance to, and feel that they will be accepted. By repeating the motion, it’s going to change the world,” she says.

Animated by Isabelle Friberg, the recently released video is a life affirming love song: We follow the video’s protagonists, who have a meet cute at local bowling alley and fall madly in love. They represent the love that man in the 80s video clip talked about. And while we get a glimpse into their lives and their love, we see Ersare and her band performing the song, while looking like characters straight out of Jem. The video manages to be brightly colored, overwhelmingly positive and a sweet visual that emphasizes the song’s swooning euphoria.

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: 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.

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.

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 — can trace their origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects over the years. Naturally, that mutual familiarity and appreciation for each other’s work led to the duo deciding to work together.

Building upon a rapidly growing profile, Palace Winter’s sophomore album, 2018’s Nowaways found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy and melodic, radio friendly pop with heavy thematic concerns — with the album material’s touching upon the loss of innocence of adulthood, the accompanying tough and sobering lessons as you get older, the freedom and power that comes as one takes control of their life and destiny and the like. But it’s all underpinned by the profound grief of inconsolable 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 preceding albums, . . .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, drawing 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.

So far I’ve written about two of the album’s previously released singles: The album’s first single “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 may arguably be the album’s most ambitious and expansive songs. Featuring elements of arena rock, glam rock and synth pop, the track which was centered around a rousingly anthemic hook, a crunchy power chord-driven riff, shimmering synth arpeggios and strummed acoustic guitar, the song is actually deceptively (and perhaps, even ironically) upbeat, as it tackles the anxiety of anticipatory loss of a loved one. Loss and despair are always around the corner, indeed.

“Deeper End,” the album’s third single is a decidedly genre-defying affair — and it finds the duo pushing their sound in a new direction but without changing the elements of their sound and approach 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.” Coleman adds “Think Kraftwerk playing a classic country song.” In either case, the song is full of slow-burning, creeping dread and anxiety, the fear of skeleton stuffed closets being exposed.

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. Interestingly, the collaboration can trace its origins back to when the members of Palace Winter discovered that Lytle was a fan, after he added a Palace Winter song to one of his playlists. Coleman, who’s been a longtime fan of Lytle’s work with Granddaddy reached out to Lytle with what he thought was an unlikely proposition to work together. Obviously, Lytle said yes. “It’s wild to think that back in the early naughties I was wandering around Europe with Grandaddy in my headphones, and now here I am trading lines with Jason. It’s a real honour and a proud moment for our band” Coleman says.

Palace Winter · Won’t Be Long

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 — can trace their origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects over the years. Naturally, that mutual familiarity and appreciation for each other’s work led to the duo eventually deciding to work together.

Building upon a rapidly growing profile, Palace Winter’s sophomore album, 2018’s Nowaways found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy and melodic, radio friendly pop with heavy thematic concerns — in particular, the album touched upon the loss of innocence of adulthood, the accompanying tough and sobering lessons as you get older, the freedom and power that comes as one takes control of their life and destiny and the like. But it’s all underpinned by the profound grief of inconsolable 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 preceding albums, . . .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, drawing 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 different emotional states.

Last month, I wrote about the album’s first single “Top of the Hill,” a perfect example of the album’s literal tale of two cities: shimmering and icy synths, thumping beats and an enormous, arena rock hook were paired with Coleman’s lyrics, centered round volcanic imagery to describe the bubbling and broiling feels of dissatisfaction, boredom, frustration, deceit and distrust of a relationship on a brink. But with everything in our lives, there are difficult decisions to be made, and the song subtly hints that despite it all, there’s a dim chance that the central relationship could possible survive — even if both parties know, deep down that it shouldn’t.  Interestingly, “Won’t Be Long” is arguably one of the album’s most ambitious and expansive songs. Drawing from arena rock and glam rock and synth pop, the track is centered around a rousingly anthemic hook, a crunchy power chord-driven riff, hot, shimmering synth arpeggios, strummed acoustic guitar, the song is deceptively (and perhaps, ironically) upbeat.

Last year, Palace Winter’s Carl Coleman received a shock when he learned of a loved one’s urgent illness. And as a result, the song actually is centered around the reckoning of imminent loss, of anticipatory grief — and our attempts to escape the inevitable. But loss and despair are always just around the corner.

 

 

 

 

 

 

 

 

New Video: JOVM Mainstays Palace Winter Release a Lysergic Visual for Anthemic New Single “Top of the Hill”

I’ve written quite a bit about the  Copenhagen, Denmark-based pop duo Palace Winter — Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager — over the past few years. The act can trace its origins to the duo’s mutual familiarity and appreciation for each other’s work throughout a number of different projects. Naturally, that mutual familiarity and appreciation for each other’s work, led to the duo working together. 

Coleman and Hesselager released their Palace Winter debut single in 2015 — but the following year was a breakthrough year for the Copenhagen-based duo: they released their EP Meditation and full-length debut Waiting for the World to Turn to critical praise from The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.

Building upon a rapidly growing profile, Coleman and Hesselager released their sophomore album, 2018’s Nowadays. Arguably one of my favorite albums of the year, the album’s material found the duo expanding upon the sound and songwriting approach that won them praise, as they paired breezy, melodic, radio friendly pop with dark thematic concerns — in particular, the loss of innocence as one becomes an adult, with its accompanying tough and sobering lessons; the freedom and power that comes as one takes control of their live and destiny. But this was all underpinned by the inconsolable grief of profound loss. The album suggests a couple of things that I’ve learned about life in my 41 years : Life is ultimately about accepting immense, inconsolable loss as part of the price of admission, and somehow you have to figure out some way to move forwards, even its in fits and starts. And that a significant portion of our lives will be spent maneuvering the confusing push and pull between love and lust, with the prerequisite remote, anxiety, bitterness and loathing. Life is never easy and there’s never easy solutions. 

Palace Winter’s highly anticipated, third album . . . Keep Dreaming, Buddy is slated for an October 23, 2020 release through Tambourhinoceros Records — and unlike their preceding albums, . . .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, drawing 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.

“Top of the Hill,” which features a guest spot from Lowly is a perfect example of the album’s literal tale of two cities: shimmering and icy synths and thumping beats and an enormous, arena rock hook are paired with Coleman’s lyrics, which feature volcanic imagery to describe the broiling and bubbling feelings of dissatisfaction, frustration, deceit and distrust that come up in a failing relationship. And yet, throughout there’s the dim chance it could survive — even if it shouldn’t. 

Starring Carla Viola Thurøe, the recently released video follows the actor on a lysergic-tinged walk around Copenhagen’s parks and streets — and we see Thurøe’s attentive gaze shift from crystal balls to flowers, with the Danish actor carefully examining them and their texture. In many ways, the video mirrors Hesselager and Coleman’s writing process with Hesselager walking around Copenhagen figuring out the unfinished instrumentation and beats ins head and how they fit with Coleman’s phone recordings. 

New Video: Copenahgen’s IRAH Releases Aching and Nostalgic Visuals for “Cinematic”

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.”

With the release of 2016’s mini-album Into Dimensions, the Copenhagen, Denmark-based  duo IRAH, 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. The album’s second and latest single, the Kate Bush meets Bjork-like”Siu Hinama” features 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 also manages to evoke an ancient tribal ritual. “Siu Hinama occurred through vocalistic sound meditations,” Grøn explains in press notes. “The song never felt right with lyrics and therefore we decided to just let the words or word-sounds be as they were.”