www.youtube.com/watch?v=74t603vtV0c&feature=related

Kakkmaddafakka did what I expected them to do: make the audience go crazy. It’s hardly possible to escape with their Rock/Pop/Funk/Disco music mix. They played a lot of songs from their recent album “Hest“, including “Restless”, “Self-Esteem” and “Gangsta”. The three piece backing vocal choir, dressed like triplets deserves a special mention here. The John Travolta workout choreographies were brilliant, especially for the song “Heidelberg”. Kakkmaddafakka are known for their rousing live shows by now. And rightly so.

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From Bergen we’re going straight to Norway’s capitol Oslo and to fusion-jazz band “Jaga Jazzist“. Sleaze Nation once described their sound as “Like Charles Mingus with the Aphex Twin up his arse”, and this hits the nail on the head. I don’t think I’ve ever been to a gig where earplugs have been handed out at the entrance, but now I know why. Listening to a nine-piece orchestra with their mixture of Post-Rock, Electronic Music and Jazz, felt like being struck by thunder and lightning at the same time, earplugs surely needed. But don’t get me wrong, the sound and the show was great. Drummer and band leader Martin Horntveth and his eight band mates created something I would rather call atmosphere than song. The (song)themes were ruptured by alternating tempi, solos and improvisations, eventually add up to one big picture. And after 1 1/2 hour we all knew what Charlie Haden meant when he said: “As long as there are musicians who have a passion for spontaneity, for creating something that’s never been before, the art form of jazz will flourish.”

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First of all, I went to see Hauschka for the first time ever. I totally devoured Volker Bertelmann aka Hauschka‘s last album “Foreign Landscapes” and was really curious about his prepared piano show. There is just one word for this guy and his music: ace. He was using tape, little tambourine metal jingles, marbles and some other weird stuff I couldn’t identify, to put it on the piano strings. The sounds he created were savvy and magical, I haven’t seen anything like this before. Although he was “just” playing his instrument, watching him add and remove things to change the sound of the piano, felt like watching a scientist inventing something. His idea of making electronic music without using any electronic devices works quite perfect.

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“A Hawk And A Hacksaw” from New Mexico were the next band on stage, a duo consisting of accordionist Jeremy Barnes and violinist Heather Trost. For the show they were supported by a trumpet player and percussionist. Their latest album “Cervantine” is a great piece of Eastern European traditional music, leaning towards the Balkan Beats movement, but being more world music and less pop. To be honest, the show was a bit of a disappointment. On the musical side everything was perfect, but the band couldn’t get things going with the audience. A friend of mine said : “I’ll pretend they’re just in bad mood and give them a second chance.” Alright then, let’s do it.

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Sunday was Sweden day. I went to see “José Gonzalez and the Gothenburg String Theory“, which was an awesome show. But the real surprise was the support act called “Loney Dear“. Loney Dear is the Jönköping based singer songwriter Emil Svanängen. Anyone who ever went to a gig (I guess most of you did) know how hard it is to capture the audience when you’re just the opener. But Loney Dear did it, and not only with his wonderful music, but also by being a totally likeable guy. His attempts of making the audience sing had real comedic potential, I felt like being in an audition for a catholic church choir. The sing-alongs were, let’s say artistically demanding, but he refused to give up: “Come on people, you’re from the Bach country!” That hit home.

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José Gonzalez performed his songs together with the Gothenburg String Theory. All songs had been newly arranged and all versions including “Crosses”, “Cycling Trivialities” or “Teardrop” blew me away. And when he came back on stage for his encore and played “Heartbeats”, people eventually went crazy (I wonder how many of them knew that Heartbeats is actually a cover version?) My personal favourite though was the conductor “Nackt”. I haven’t been to many classical concerts before, but this guy was not just conducting. This was like watching a Jane Fonda Aerobic video…admirable passionate. I guess he must have had an oxygen tent backstage.

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I remember having a discussion a few years ago with some guy about the song “Personal Jesus” on Johnny Cash’s album “American IV: The Man Comes Around“. He thought the Depeche Mode cover version was pretty neat, but couldn’t come up to Johnny Cash’s original. Due to my sense of justice (and my strong devotion for Depeche Mode), I tried to explain that it’s actually the other way round, but he wouldn’t believe me. And to be honest with you, who could blame him?

This conversation could happen again, when I would talk with someone about Bart Davenport‘s current album “Searching For Bart Davenport“. Twelve songs and he embraces every single one, it would never occur to you that he hasn’t been the composer.

The first song “Come On Let’s Go” originally by electronic/Dream Pop band Broadcast, is a worthy follower for José Gonzáles‘ version of The Knife‘s “Heartbeats”. Davenport created an intimate song, boiled down to the root of the matter.

His reinterpretation of Caetano Veloso‘s “Maria Bethania” is less tropical, but more hippiesque. His reinterpretation of The Incredible String Band‘s “You Get Brighter” is less (Hare Krishna) hippiesque, but more romantic.

My personal favourite tough is his version of Arthur Lee And Love‘s “Wonder People (I Do Wonder)”. I presume this record must have been part of his parents’ record collection. He turns it into a beautiful and light pop tune, I just can’t stop listening to it.

Last but not least he had the guts to do a Gil-Scott Heron song. I have to admit I had some doubts about that one, but they were totally causeless. His somehow jazzy version of  “Better Days Ahead” gives me the goosebumps.

Altogether “Searching For Bart Davenport” is an intimate journey through Bart’s world of musical idols and influences. This album is like a 45 minute staycation. Recreation guaranteed.

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It’s sad but true: my computer game experience is limited to Tetris. But I was totally addicted to this one for a couple of years. I loved watching the tetrominoes falling down the playing field. And then the challenge to create a wall by moving and rotating the items, very exciting.

You are maybe wondering what this adolescence memory has got to do with Fujiya&Miyagi‘s current album “Ventriloquizzing“? Plenty.

The Tetris-wall-satisfaction is the feeling I get, when I’m listening to “Ventriloquizzing. It’s like watching patterns of music falling down a playing field moving and rotating until they merge into the perfect wall of sound.

With their fourth album, the Brighton based band created their entrance to musical adulthood. The sound is still typical Fujiya&Miyagi Krautrock influenced electronic music. Steve Lewis, David Best, Matt Hainsby and Lee Adams make no secret of their fondness for Neu! and Can, but they also straighten out that Fujiya&Miyagi is much more than a Krautrock tribute band.

The songs on “Ventriloquizzing” are as always dominated by David Best’s whispering voice and the usually puristic lyrics like “There’s no use crying over spilt milk”. The big difference compared to “Transparent Things” and “Lightbulbs” seems to be the aim to transform the songs on “Ventriloquizzing” into a live show.

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See for yourself:

2nd March – Birmingham, Hare & Hounds
3rd March – Salford, Islington Mill
4th March – Leeds, Brudenell Social Club
5th March – Bristol, The Fleece
8th March – London, Heaven
10th March – Berlin, Lido
11th March – Oslo, Blaa
12th March – Stockholm, Debaser
20th March – Los Angeles, The Echo
21st March – San Francisco, The Independent
22nd March – Chicago, The Mid
23rd March – New York, Santo’s Party House
24th March – Washington DC, Rock and Roll Hotel
7th April – Rome, Circolo degli Artisti
8th April – Treviso, New Age Club
9th April – Ravena, Bronson
21st April – Lille, France – Le Grand Mix
22nd April – Caen, France – BBC
23rd April – Rennes, France – L’Antipode
26th April – Paris – Alhambra
28th April – Lyon, France – Le Transpordeur
29th April – Montpellier, France – Victoire 2
30th April – Marseille, France – Le Poste a Galene

More dates to be announced soon.

The debut release “Centuries” from Dark Dark Horse could be described with one sentence: it is pleasant anticipation set to music. Their pop influenced electronic sound is romantic in the best sense or as Charles Baudelaire used to say: “Romanticism is precisely situated neither in choice of subject nor exact truth, but in the way of feeling.”

And the best thing about feelings, they don’t stick to any rules. Neither does the sound of Dark Dark Horse. Erik Satie like piano tunes meet IDM beats meet spherical synthesizer soundscapes all kept together by James Stafford’s flowery lyrics and his gentle voice.

If you’re a fan of Postal Service, Anderson, The New Wine or American Analog Set you must not miss out Dark Dark Horse. And if not, listen to them anyway!

Unfortunately this dazzling debut is not available in Europe at the moment, but I reckon it will be pretty soon. Check out their myspace site for more infos and have a look at my interview with Jamie Ward.

First of all, who is Dark Dark Horse? Please introduce yourself!

Dark Dark Horse was started by me (Jamie Ward) and James Stafford. I do the music and James writes and sings all the vocals. Joe Norledge who plays guitar and Robin Southby who plays keys have since joined the band.

Describe your musical style in one sentence.

Max Richter meets New Order, and odd fit of styles and sounds that shouldn’t work but hopefully do.

What do we need to know about your debut release “Centuries”?

It’s not out in the UK or Europe yet but we’re working hard on that.

What kind of music inspires you?

Anything with the spark of something new, it doesn’t have to be groundbreaking but just has that special something that sets it apart. I get pretty inspired by music when I can’t grasp who it’s been done. Being a producer I get pretty analytical over music so when something comes along that  can’t over analyse I get pretty excited about it. Clark’s ‘Totems Flare’ is an example of that for me.

Are there any other musical projects in your past, present or future?

I used to play in Kyte, the now Defunct Tired Irie and still play in Maybeshewill. James also plays in Kids in Carsand Robin’s real baby is Maybeshewill.

What is the best thing about being a musician?

Creating something that wasn’t their before.

What is the worst thing about being a musician?

Trying to get people interested in what you’ve created.

Where and when can we see you live?

It’s early days yet so we’re just tentatively stepping into the world of live performance. We’re playing Leicester Firebug on the 11th of Feb and Nottingham Bodega Social on the 16th of February.

What are your plans for 2011?

Push our music to a much wider audience, release centuries or maybe something a little updated in the West, write another album (we have most of the demo’s already) play live a lot more.

After the first time I listened to Silent Devices and their EP “Two Decades“, I was left with two questions. Why haven’t I heard of this band until now? And why are they apparently unsigned?

The most beautiful thing about their music is the way they avoid this miserable apocalyptic atmosphere that often comes along with post rock. Josh, Scott, Alex and Charlie make something you could call “lyric post rock”. Layers of sounds and vocals intertwine and become some sort of a magic carpet. Make yourself comfortable and fly away!

“Two Decades” stands out, because it’s genuine. Silent Devices have a keen sense for their own musical strengths and I guess that’s why they’re not afraid to set priorities. I’m pretty sure we’re going to hear a lot more from the Leicester based band soon. Until then you should check out the interview with Silent Devices’ drummer Alex:

Wherefrom do you know each other?
We’ve known each other for a fairly long time actually. I have known guitarist, Charles since we were like 11/12, and Scott (Bassist) and Josh (Vocals) have known each other since they were a similar age. Then we all met each other at school when we were all 16.
How did the band come off?
The band came about as Josh, Scott, and Charles were playing in a band with a different drummer and extra guitarist, then that band disbanded and I stepped in as drummer, then it’s been us 4 ever since then basically.
How serious do you take your band? Is it a hobby or a profession?
I think we would all like for it to be our profession, however we’re all currently poor students, so for the moment, I guess I would call it a very serious hobby. A lot of our money goes into the band, as we try to travel and record as much as possible.
You’re currently working on new material until the end of april. What can we expect?
Yeah, the writing process is going very well at the moment. In terms of expectations, I feel the material is nowhere near as post-rock driven as our previous EP’s. There’s  certainly a lot more vocals, sometimes vocal harmonies, it’s leaning more towards a pop record than ever before. However, we’re not Gaga. It still has the ‘dream pop’ aspect that we love.
Is there a chance to see you live in 2011?
Yes. For the moment, we’re focusing on finishing the new EP, but we’ve got a few shows lined up for late February/March time. The first 100% confirmed show is March 1st at The Bull and Gate, London.
What are your favourite albums to listen to at the moment?
For me I haven’t stopped listening to the new Delta Spirit album, History From Below, also The Wild Hunt by The Tallest Man On Earth, and All We Grow by S. Carey. We’re also all into the Villagers debut and High Violet by The National.
What is your inspiration? Do you have any musical idols?
I guess we don’t necessarily have musical idols, but if we had to put some artists probably; fellow Leicester success story Mark Morrison and Prince, Michael Jackson and DJ Jazzy Jeff.
What’s the unique thing about your music? Is there something that makes a difference to other post rock bands for you?
Probably the main difference between us and other post-rock bands is that our songs are fairly vocally driven, therefore we try to not just stay in the post-rock bubble, particularly with the new material, we take a great deal of influence from non post-rock bands like The National, The Arcade Fire and Frightened Rabbit.
Where do you see yourselves and your band in five years? Are there things you want to achieve?
In the next five years I guess we’ll be looking to get a few tour supports or maybe even a headline tour under our belt, just to really get the music out to as many people as possible really.

I’d like to start this review by making a daring case. The extraordinary thing about Kid Decker’s music is, it’s ordinary. I know this sounds absurd and you may ask yourself why I would recommend an ordinary album.

I do so, because “Your Kind” reminds me of something really important: you should never take things for granted. And the funny thing is, we usually just take the ordinary things in life for granted. So much for the philosophic part.

Craig Saunders aka Kid Decker is a singer-songwriter from Somerset in South West England. He decided to move to Germany a few years ago and made his mark by playing live a lot, co-organizing the folk festival Melodica and winning the German music contest Krach & Getöse (which means something like Noise & Bluster). His music is neither noise nor bluster, but straight folk. Sometimes uplifting, sometimes melancholic, the Lo-Fi production of “Your Kind” teases out a lovely private and homey feeling.

Listening to “Your Kind” fells like slouching in my favourite armchair. To most people it looks ordinary, because it’s obviously not a Red Dot Design awarded armchair. It has it’s sitzmarks and scuffed spots here and there, but I love it and I would desperately miss it, if it was gone.

There is no excuse or explanation why Codes In The Clouds is still a Post-Rock insider tip. Their second album “As The Spirit Wanes” is what you might call a pretty neat piece of work. And I don’t do this very often, but the Dartford based quintet released an album I would entitle a must-hear. And why is that? I know you usually don’t link this word to music, but their sound is sustainable. It’s sustainable in being timeless and luscious apart from the musical genre. Stephen Peeling, Ciaran Morahan, Rob Smith, Jack Major and Joe Power (what a name!) are without a doubt extremely talented musicians with that rare gift of taking vivid speeches without using a word. Their instruments take over that part and just as intangible and floating as their songs might seem, you’re immediately roped in and shaken up.

Compared to the debut album “Paper Canyon” the songs on “As The Spirit Wanes” sound more mature and elaborated. “As The Spirit Wanes” sets a whole range of emotions to music. Joy is accompanied by despair, happiness fronts sadness and love is all too often attended by hate. This probably is old hat to you, but I think we all need to be reminded of these things from time to time.

Anyway, “As The Spirit Wanes” is surely a big step forward for Codes In The Clouds in terms of being acclaimed for what they are: much more than an insider’s tip.

And if you’re not convinced yet (let’s be honest, that’s not possible), you should see them play live. These guys rock!

13.1. OBERHAUSEN (DE) – Druckluft

14.1. TILBURG (NL) – 013

15.1. MÜNSTER (DE) – Gleis 22

16.1. REES-HALDERN (DE) – Haldern Pop Bar

17.1. DRESDEN (DE) – Beatpol

18.1. BERLIN (DE) – Bang Bang Club

19.1. KIEL (DE) – Schaubude

20.1. HAMBURG (DE) – Prinzenbar

21.1. LEIPZIG (DE) – UT Connewitz

22.1. CHUR (CH) – Werkstatt

23.1. FRANKFURT (DE) – Das Bett

24.1. PARIS (FR) – L’International

1.2. LONDON (UK) – The Macbeth

“That Fuzzy Feeling” and is a compilation made by LOaF Recordings and the Arctic Circle. 15 tracks from artists like Isan, Peter Broderick, Hauschka, Rothko and the Sleeping Years or the North Sea Radio Orchestra look into this particular mood, and this certain melancholy that’s wafting all around this time of the year. All tracks tend towards electronic music or/and contemporary classic, but without avoiding typical christmas sounds. And all the songs on the album prove, that you don’t have to reinterpret the same old classics again and again. There is a fair amount of space in this musical universe to add some new christmas sounds.

“Christmas Gift” is a compilation made by Rainboot. And since christmas should be about giving, 100% of the sales will be donated to “Save The Children” and fourteen various artists contributed a song. The Animal Beat, Junkboy, Trev Gibb, Ben Holland and many more will bring you a serene and beautiful folk-pop christmas. Listening to these songs, you wish for snow and long cold winter.

“Christmas Special” from The Boy Least Likely To sounds like The Beach Boys meets Sesame Street. Pete Hobbs and Jof Owen created an album that is so joyful and lovely with a twist of christmas melancholy, you wish to be a child again and be able to experience this particular excitement most of us adults seem to have forgotten. I love it and  “I still believe in Santa Clause, even if no one else does.” Thank you for this motto.

According to their website, Pete Hobbs and Jof Owen aka The Boy Least Likely To, make “disco music with a country heart”. I think it’s quite hard to classify their music, all I know is: they make quirky and charming songs with an unmistakable childlike soul, some sort of twee pop, maybe? Anyway, they have already released two albums on their own label Too Young To Die called “The Best Party Ever” in 2005 and “Law Of The Playground” in 2009. Enjoy the fiddles, banjo, glockenspiel and the good mood.

I’m not sure if it’s even possible to write a review that could do justice to The Quiet Lamb. After their debut albumThe Heritage, the UK based (Leicester, Leeds and York) band Her Name Is Calla recently released their second ‘creation’, after years of planning and recording in several bedrooms, schools and hallways. I deliberately use the word creation in this case, because it’s not really accurate to call The Quiet Lamb an album. The usual listening habits are of no use here. You need to dip into it from the first to the last tone, not until then this music unfolds its complete beauty and strength. And I highly recommend to do so and take these 75 minutes time. The Quiet Lambcelebrates the sound, the silence and the sound of silence. Dark, but not pitch-black, melancholic, but not sad. This is Post-Rock without being only Post-Rock. This is art without being arty. Beautiful.

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