Tag Archives: Copenhagen (Denmark)

August 2020 – single & track reviews – ReMission International’s ‘TOS2020’; Derw’s ‘Ble Cei Di Ddod I Lawr’; The Forever Now’s ‘Reciprocals’

28 Aug

ReMission International: 'TOS2020'

ReMission International: ‘TOS2020’

You can tease The Mission all you like, but you can’t deny that they’ve got heart… not least because Wayne Hussey is usually waving it at you on the end of a long stick. Even during their full booze’n’powders youthful phase, they had an avuncular, endearing air about them, partly due to Wayne’s effusive need to be loved. Over thirty years later, they’re able to settle into the role more comfortably.

Even though ‘TOS2020’ isn’t quite The Mission in itself – it’s performed by Wayne with a small army of friends and allies under the ReMission International banner – it’s pretty much Mish at heart. Tower of Strength was always the key Mission tune, and it stays timeless when it’s building on its key elements: that elegant spidery twelve-string guitar riff (like a slithering slow jig midway-morphed into a belly dance); that knee-patter of a drum pattern; and, finally, Wayne’s voice (showing less of the cavernous keen of old and more of the intimate warmth underneath it). Drawing on mystic Mediterranean drone, its distant kissing-cousin relationship to Led Zeppelin’s Kashmir, and presumably Wayne’s childhood memories of old Mormon hymns, it’s a spirit-lifter; an admission of weakness, an expression of gratitude, an affirmation of faith.


 
This particular version is a covid/healthcare fundraiser for frontline workers, with its profits to be spread globally across a wealth of charities. The array of contributors include longtime Hussey boon companions Billy Duffy, Miles Hunt and Julianne Regan (the latter slipping smoothly back into her old Queen Eve role), plus assorted characters from Gene Loves Jezebel, including the long-estranged Aston brothers. Other Goth-tinged old-schoolers contributing are Kirk Brandon, Bauhaus’ Kevin Haskins, ex-Banshees/Creatures drummer Budgie, Lol Tolhurst, Martin Gore and Gary Numan. Also on board are Midge Ure, metal/fusioneer Steve Clarke, Smiths bassist Andy Rourke, Guns N’ Roses guitarists Robin Finck and Richard Fortus (the latter reworking the faux-Hindi string parts), Slowdive’s Rachel Goswell and (representing the neo-dark side of things) both Evi Vine and James Alexander Graham of noise-folkers The Twilight Sad. Various packages include a tribal-Goth remix by Albie Mischenzingerze and a lullaby- synthwave one by Trentemøller.

Most all-star collaborations lumber along like a tired old tailback, and you’d expect this one to be the same. Instead, it manages to coast like a streamlined train; a persistent smooth swap-over of duties from voice to voice, guitar to guitar, kit to kit. In its middle age, Tower of Strength seems to have evolved from an individual prayer into a communal round, from lighter anthem to campfire hymnal. The Mission always wanted to be luminous in the darkness. Despite the Goth-y star cast, there’s less glitz in the glow this time around, and it’s all the better for it.

Derw: 'Ble Cei Di Ddod I Lawr'

Derw: ‘Ble Cei Di Ddod I Lawr’

Having opened up with the expansive piano pop of ‘Dau Gam’ during early summer, Welsh-language chamber poppers Derw are rapidly going from strength to strength. There was a dash of Celtic soul and sophisti-pop to ‘Dau Gam’; they’ve kept all of that for ‘Ble Cei Di Ddod I Lawr’, but have incorporated it into an ornate slow-building confection which suggests a Cymrification of various sources including Clannad, Queen and Brian Wilson, with both a contemporary pop dusting and a hook into the past.

Derw’s particular dynamic remains the creative triangle comprising the songwriting partnership between Daffyd Dawson and his mother Anna Georgina, and Daffyd’s overlapping musical and performance partnership with singer Elin Fouladi: two different definitions of family which seem to have combined into a larger one. The Welsh title for the new single translates into English as ‘Where Did You Come Down’; the core concept is apparently Welsh hiraeth, or nostalgic homesickness.

 
Combining with Elin’s own part-Iranian roots, a sense of place pervades the song: more particularly, a sense of place adrift. Elin’s clear, fresh voice zigzags over rolling piano landscapes, a powerful melody skylarking its own way over plenty of places to land but always restless, as if looking for a new locale in which to renew old feelings and to build anew. Stuck in my limited Anglophone world, I’m probably overcompensating, trying to make up for missing out on the Welsh lyric which unfurls alongside the music; but you don’t have to know the Welsh to catch the mood. This is potent stuff; if it’s Celtic soul, it’s of a new, post-insular, hybrid-futured kind, and it’s very welcome.

The Forever Now: 'Reciprocals'

The Forever Now: ‘Reciprocals’

Mutuality is on the mind of The Forever Now, right now. It’s a little unclear as to where and what they are. Known as Winchester up until last year, previously associated with Toronto but now based across the icy seas in Copenhagen, they’re a duo who seem to be a little reluctant to be a duo. If you take The Forever Now as a solo act, then it’s Monty de Luna; Lauren Austin, however, is the “frequent collaborator” who seems to be something of a fixture and stands to the fore on the cover art. Musically speaking, it’s all a bit friends-with-benefits.

This is probably a bit misleading; but these kind of thoughts are provoked when a song like ‘Reciprocals’ surfaces. With a ruminating electric piano ballad at its core, it’s also a duet with no solo spots (Monty and Lauren sing in strict unison and harmony throughout). Contemporary pop choruses come at us in a rush of synthy planetarium twinkle; but the verses drop, line by line, into bitten-off spaces graced by click and patter, tinkles and rattle-rushes. Monty admits, straight out, that it’s “an honest and naked statement about the end of a relationship” as well as “a metaphor for broader statements about the world”. With his group in flux geographically, nominally and practically, it’s difficult not to read the song as a musing on changing terrain of all kinds.

 
If you’re looking for direct answers in the lyrics, there’s enough here to suggest a rationale for an honest break – “If we’re honest, I’ve been here before. / If we’re honest, I can’t see a way forward. / If we’re honest it’s not worth the fuss, / and if we’re being honest, you know I never wanted this much.” But it’s also about wordplay; masking full disclosure with abstractions and constructions, and (as Monty points out elsewhere) blurring the language of love with those of analytical equations. “So if you’ve got the time, then its time we go, / and if you’ve got the lines, then it’s time we draw them. / Because in another life I’d never let you go, / but I’ve been spending mine on reciprocals, on reciprocals.”

You don’t need to know or think about any of this, of course, and you might be more comfortable not knowing.

ReMission International: ‘TOS2020’
SPV, SPV 243541 LP/SPV 243542 CD-EP/SPV 24354D (no barcode)
Vinyl/CD/download single
Released: 28th August 2020

Get it from: buy/download from ReMission International store or Beauty in Chaos store; stream via YouTube
The Mission online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM Apple Music YouTube Deezer Google Play Pandora Spotify Tidal Instagram Amazon Music

Derw: ‘Ble Cei Di Ddod I Lawr’
CEG Records (no catalogue number or barcode)
Download/streaming single
Released:
28th August 2020
Get it from: download from Amazon Music; stream via Soundcloud or Spotify
Derw online:
Homepage Facebook Twitter Soundcloud YouTube Spotify

The Forever Now: ‘Reciprocals’
Symphonic Distribution (no catalogue number or barcode)
Download/streaming single
Released:
28th August 2020
Get it from: download from Bandcamp; stream via Soundcloud, Deezer, Google Play or Spotify. This is also the lead track from the ‘Reciprocals’ EP.
The Forever Now online:
Homepage Facebook Soundcloud Bandcamp YouTube Deezer Google Play Spotify Instagram Amazon Music
 

November 2019 – upcoming London experimental gigs – Janushoved’s fifth anniversary party with Rosen & Spyddet, Internazionale, Yuri and others (1st November); Orlando Harrison goes Orwellian at the Horse Hospital with Tone Generator, Imperial Leather and David Rage (1st November); Paper Dollhouse, Daniel O’Sullivan, Flowers At Night and DJ King Knut at New River Studios (2nd November)

29 Oct

Janushoved 5 Year Anniversary, 1st November 2019Enigmatically romantic Copenhagen label Janushoved are throwing a fifth anniversary party in London at the start of November. Defining a Janushoved release isn’t a precise art – you can throw around the usual reductive tags like “dream pop”, “dance music” and “ambient”, but establishing a Janushoved sound and feel is more of a textural thing. Music released on the label stretches beyond the usual complacencies, suggesting at least one extra dimension. A Januhoved piece is more like enchantment heard around a grey door; intimate and intimatory, already huge yet incrementally growing, suggesting huge technicolour cloudscapes and bioluminescent pagodas.

Janushoved label curator Mikkel Valentin Dunkerley will be playing a strong role in the show. Unsurprising, since many Janushoved artists are him in some form or another, with or without assorted collaborators. Certainly he’s bringing the expansive, heroic ’80s electronic crownings of Rosen & Spyddet (also featuring mysterious sidekick P.E.) and will be returning for a second go onstage with the incandescent, sighing minimalism of his solo project Internazionale. His Shell Fantasy bandmate Susanne Mouritsen will also step up with the plaintive trance/found sound gush of her own work as Yuri. Various DJs should be playing but are yet to be announced: if nothing else, the three Janushovedians will probably be stepping up to the decks themselves and presenting various influences and inspirations.


 
* * * * * * * *

On the same evening, you’ve also got the opportunity to go to something much more abrasive, as the Horse Hospital plays host to an evening of assorted noise and audio mysteries. It’s centred around the ‘Tape 313‘ project by Orlando Harrison (who plays keyboards for Alabama 3 under the alias of “The Spirit”, has touched on work with Coil, Red Crayola, the Amal Gamal Ensemble, Dr Miasma and the Carousel of Headless Horses, Guapo, and The Daughters of God and who puts out strange semi-occult radiophonic collages of music, found speech and rants on Resonance 104.4 FM as ‘The Wrong Show’). Best to let the press release inform… or disinform:

 
Orlando Harrison, 1st November 2019“Reworkings of long thought lost audio tapes obtained on the premises of Senate House, ‘Tape 313’ interrogates two dissident voices, uncovering hidden meaning and deciphering coded messages.

“Stammheim Prison, 1975 — Gudrun Ensslin outlines the political position of the Red Army Faction, eighteen months before her alleged suicide, her voice a ghost in the machinery of the German state. The perpetual revolution of helicopter rotors over the prison house echo the grinding of the wheels of justice below, and the relentless rotation of the swastika at its heart.

“Trafalgar Square, 1956 — Nye Bevan delivers a speech attacking Sir Antony Eden’s Conservative government following the seizure of the Suez Canal. Twenty thousand people heard Bevan speak, after which a crowd marched on Downing Street. Harrison’s deconstructions transform Bevan’s words into air-borne weapons, soaring over the equestrian bronzes of Nelson’s Column, drowning out the death rattle of the British Empire.”

Contributing to the evening alongside Orlando are various people from around the Wannamarchi Club disorganisation (in their own words, “a multinational cabal centred around the labels Broken Britain Cassettes and NKT encompassing events, radio shows and visual art activities.”) Making assorted sounds and projecting visual are assorted industrialists and other noisemakers – S.P.K. visualiser and synth player Dominic Guerin in his Tone Generator persona; Imperial Leather (industrial tapesmiths setting growling toolwork against cutup echoes of rabble-rousing speeches – he/she/they seem to have a particular fascination with Brexit dyspepsia); and David Rage. It’s tricky to track down much of anything about what anybody’s doing, some of them may be working together and some of them might be employing a single-use-then-throw-away name for the evening; but here’s a bit of Orlando and a scrap of Leather.

 
* * * * * * * *

Orlando’s Dr Miasma colleague Daniel O’Sullivan has been pretty active recently, gigging his ‘Folly’ album and his Dream Lyon Ensemble around London and Europe. The night after Orlando’s gig, you’ll find him reviving his occasional, unorthodox performance piece ‘The Honourable Daines Barrington’ – trumpeted as “an ecstatic sound and movement ritual heralding the inner succession of the hypostasis and a channeling of musics from the vegetable kingdom… based on the cryptographic responses to the letters of eighteenth century parson-naturalist Gilbert White (but which he’s also revealed, in an M Magazine interview a couple of years ago), as being about “an atavistic vegetable man” and involving “a very, very awkward costume that’s very difficult to see and perform in.” Here’s just under a minute of him doing it in Moscow back in 2016…


 
Paper Dollhouse + Daniel O’Sullivan + Flowers At Night + DJ King Knut, 2nd November 2019
This Daines Barrington revival is part of a similarly unorthodox evening, centred on the release of ‘The Walled Garden’, the brand new album by Suffolk audio-visual experimental duo and “radioactive ambient pop” creators Paper Dollhouse. Daniel will be using the same garden-themed stage set which PD have assembled for this show, upon which they’re promising a “special, spectral, 3D performance” of “the follow up to 2018’s neon-lit ambient pop album ‘The Sky Looks Different Here’, and its sister release ‘All The Colours Align’, to form the final part of a triptych set across the plains of rural Suffolk and London. Inspired by surrounding nature, domestic routine, Maggi Payne and Henning Christiansen’s ‘The Executioner’, the release was recorded on a portable twenty-four track recorder and holds up a mirror to autumn the dawn and early hours, an exploration of synthesiser experiments, field recordings and snapshots of conversations that quietly define areas of personal growth, patience, curiosity, understanding and freedom… Where the group’s previous album explored an audio journey from the rain-soaked streets of East London out to the now fast eroding landscapes of Suffolk, The Walled Garden captures the after-hours ambience that falls across Astrud’s childhood surroundings within the ancient London borough of Southwark, an area with a rich but hidden music landscape home to the outer edges explorations of Coil and Derek Jarman. While field recordings from Nina’s studio in the rural yet equally meditative oceanside pepper the long-form synth transitions and blurred recollections of conversations and early morning reflections.”


 
Irish looper/layerer Juno Cheetal – a.k.a. Flowers At Night – will also be performing her own audio-visual set, droning away on vintage analogue and digital synthesizer, pulling in rural and urban field recordings, and adding live drums, vocal harmonisations and autoharp. The visual aspects are drawn from her Sherkin Island homeland, near Cork – possessor of a wide variety of spectacular shapings from woodlands to sea views.


 
The evening’s further expanded by Yorkshire sound collageist Lisa Lavery, who’ll be presenting her soundwork ‘The Valley’ (inspired by the changing social landscape and preoccupations of the Yorkshire Dales, it’s “made up of ‘sounds of the salon’ put through a harsh bleaching process… obsessed with the sheer number of salons in the valley and how that reflects the work opportunities available to women there and their existence as a safe space for women,” and realised with various salon accoutrements – hairdryers, clippers, hair foils and polystyrene wig heads. (Originally commissioned by the Calderdale branch of Yorkshire Sound Women Network – well worth checking out if you’re a sounds-and-noise girl of any age, and you want some active support – she’ll also be playing it as part of YSWN’s Hebden Bridge concert on 5th November.)

Finally, Soho radio show producer and haunted-beatsman King Knut (Knut Jonas Sellevold) will be offering up DJ sets containing “an instinctive, psychedelic mix of private press rarities, industrial electronic work, rock, unearthed 70s library music, Eastern-European folk, Algerian pop, jazz and hip hop” aiming for “a MoonDome garden ambience”


 
(UPDATE – it seems that Daniel O’Sullivan has in fact now cancelled, but everyone else is still playing…)

* * * * * * * *

Dates:

Janushoved presents:
Janushoved 5 Year Anniversary (featuring Rosen & Spyddet + Internazionale + Yuri + DJs t.b.c.)
The Glove That Fits, 179 Morning Lane, Hackney, London, E9 6LH, England
Friday 1st November 2019, 7.30pm
– information here

Broken Britain Cassettes & Wannamarchi.Club present:
Orlando Harrison: Tape 313 Launch
The Horse HospitalThe Colonnade, Bloomsbury, London, WC1N 1JD, England
Friday 1st November 2019, 7.00pm
– information here and here

Paper Dollhouse + Daniel O’Sullivan + Flowers At Night + DJ King Knut
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Saturday 2nd November 2019, 7.00pm
– information here and here

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