31 Years Ago Today

I was a huge fan of The Beatles when I was a teenager and Lennon was my favorite. I once asked my father what it was like to be alive when John Lennon was alive. A friend reminded of this conversation a year ago on Facebook. A year ago it was the 30th anniversary of Lennon's passing so there's was a lot of attention around it.

Once when I was in 10th grade in Aarhus, Denmark I sang "Across The Universe" in front of the whole school at a Christmas event. 16 years old or something. That was special.

Around the same time I asked my grandfather what he thought about The Beatles. He was already in his forties when The Beatles became a worldwide phenomenon. He didn't have any strong opinions on their music but he thought it was rather silly that they got medals from the Queen of England. I kind of agree with that.

Lennon returned his medal to Buckingham Palace in 1969 saying "I am returning this MBE in protest against Britain’s involvement in the Nigeria-Biafra thing, against our support of America in Vietnam, and against Cold Turkey slipping down the charts. With love, John Lennon of Bag." (from here).

The above version of "Across The Universe" is from the No One's Gonna Change Our World charity compilation. It features some nice sitar drones. The Phil Spector produced version from Let It Be is lusher and more orchestrated. Some people don't like it. I like it:


Christmas Music

It's a weird combo: christmas and music. Christmas music. It could be good, and it most definitely has been at times. Every now and then. But boy, does the Christmas season produce much crap of the musical variety! Being at home in the Faroe Islands during Christmas with the radio on? It's the worst. All these horrible songs/recordings come on.

But then there are the good ones, and since today is Dec. 1st this post is dedicated to a selection of Christmas songs that I actually enjoy. Check them out today and/or over the coming weeks. Might be a good way to get in spirit!

Classic christmas:

Sung vocal, spoken word, arrangement: everything here is defined by brilliant delivery. Jim Reeves was amazing. I have a couple of his albums on vinyl and there's such a coziness to them. His music has one thing in common with Billie Holiday's music: you want to live in it!

Wall of Sound Christmas:

Phil Spector - Mr Wall of Sound himself - produced a Christmas album back in '63. It features a collection of mostly secular Christmas songs sung by a selection of usual Spector suspects; The Ronettes, The Crystals, Darlene Love and Bob B. Soxx & The Blue Jeans. Here's Spector and co.'s take on "Frosty the Snowman".

Swag christmas:

It's Frank.

Highly unlikely but ends up taking your breath away Christmas:

When Bob announced his christmas album in 2009 I was among the skeptics but when I heard the result I became a believer!

Moving Christmas:

Judging from the comments he gets on YouTube Sufjan seems to have more or less saved christmas music for a lot of people. His 5 EP christmas box set is quite incredible. His take is a fresh, heartfelt and pristine one. The EPs feature originals as well as interpretations of traditional christmas songs and hymns. This one is an old hymn and it is nothing less than stunning.

Original Christmas:

Sufjan's box set has done much to redefine christmas music so let's give it another spin. This is one of Sufjan's originals.

Shoegaze Christmas #1:

A hazy beautiful version by Low.

Shoegaze Christmas #2:

Californian shoegaze pop rockers Starflyer 59 - one of my favorite bands - covering a Christmas classic.

Dream Pop Christmas:

Scottish dream pop legends Cocteau Twins covering "Frosty The Snowman" on their two-song christmas EP Snow (1993).

Psychedelic Drone Christmas:

California resident psychedelic drone rockers Wooden Shjips with their take on "O Tannenbaum". It's a lot of fun!

Goofy Christmas:

And now that we're on our way into semy-goofy territory we might as well go all in! Twisted Sister with "O Come All Ye Faithful" (also covered by Bob above btw). I love the fact that the backing track is so similar to "We're Not Gonna Take It" :)

Wishing you a great December and, when the time comes, a Merry Christmas!


20 years ago today

Today it is 20 years since Freddie Mercury succumbed to AIDS. I remember recording this song from radio to cassette tape after seeing the movie Highlander. Listening to this song over and over again in the context of the movie was one of those early "musical goosebumps" moments.

"The etymology of the word recording, meanwhile, tells us already that this thing which is not always already has to do with loss. Tracing this word back to its Latin root recordari, we understand that recordings are always imbued with a function of remembrance, intended to allow that which has passed to be again. This function was perhaps more present in the minds of the early pioneers of sound recording technologies. This is precisely what is suggested by Jonathan Sterne when he writes: 'If there was a defining figure in early accounts of sound recording, it was the possibility of preserving the voice beyond the death of the speaker' (2003: 287). But this function is present in all recordings and describes not only the past of all recording formats but also their future. It is a future haunted by the spectre of death, of an object or event that is no longer, but which it is the recording's capacity and function to make present again."
-Greg Hainge in Vinyl is Dead, Long Live Vinyl: The Work of Recording and Mourning in the Age of Digital Reproduction


Leonard Cohen: "Show Me The Place"

Album cover designed by Mr Cohen himself
Here's a brand new song by Leonard Cohen. From his upcoming album Old Ideas (Columbia Jan. 29th 2012).

Incredible song. I'm awestruck!

Show Me The Place by leonardcohen

Show me the place where you want your slave to go
Show me the place I’ve forgotten I don’t know
Show me the place for my head is bending low
Show me the place where you want your slave to go
Show me the place help me roll away the stone
Show me the place I can’t move this thing alone
Show me the place where the Word became a man
Show me the place where the suffering began

The troubles came I saved what I could save
A thread of light a particle a wave
But there were chains so I hastened to behave
There were chains so I loved you like a slave

Show me the place where you want your slave to go
Show me the place I’ve forgotten I don’t know
Show me the place for my head is bent and low
Show me the place where you want your slave to go

The troubles came I saved what I could save
A shred of light a particle a wave
But there were chains so I hastened to behave
There were chains so I loved you like a slave

Show me the place
Show me the place
Show me the place

Show me the place help me roll away the stone
Show me the place I can’t move this thing alone
Show me the place where the Word became a man
Show me the place where the suffering began


A year of interesting albums - pt. 4: 2006

In 2009 I began making album yearlists where I listed what I considered to be the best albums of years gone. The plan was to work my way backwards in time. This began in 2009 so the first year listed was 2008. Three lists have been published so far; 2008, 2007 and 2009 (which was published in 2010). Here's the 4th installment and the year is 2006.

The Knife: Silent Shout

Fascinating sophomore album from Swedish electro siblings. Dark and enigmatic. They're shrouded in mystery, a bit like Björk.

Mono: You Are There

Elegiac post rock from Japan. Many post rock bands veer close to something very trite and overdone but this is a beautiful and atmospheric album. Recorded by Steve Albini at his Electrical Audio Studios. People know what they're doing and it is audible.

Flaming Lips: At War With The Mystics

The Flaming Lips are always enjoyable musical company and this album is no exception. Maybe not up there with their masterpieces but still a good Lips album and a good Lips album is most certainly a good album by any standard.

Booka Shade: Movements

 2nd album from this German electro house/techno duo. This album works well as a long player. "In White Rooms" is a gem of a track! Both the original and the various remixes (found elsewhere) shimmer with electronic brilliance. Saw them live in the autumn of 2008 at Rust in Copenhagen. The club was packed and it was warm as hell.

The Black Angels: Passover

Debut album from this dark psychedelic rock quintet from Texas. Menacing mood stuff that digs into the darker corners of the soul. Great stuff. Seen them live twice. Very good.

Tool: 10.000 Days

Tool is cool! (always on the lookout for an opportunity to say that). Four geeks that make jammy art metal progressive geek rock AND sell loads of albums and have an international fanbase. It works. This album is awesome but Ænema (1996) and Lateralus (2001) are awesomerer...

Iron Maiden: A Matter Of Life And Death

 Traditional melodic metal from the band that came to define a lot of things metal in the 80's. Since 2000 they've had something of a renaissance. Saw them live at Roskilde this summer. It was awesome.

Mojave 3: Puzzles like you

The core members of this band used be in legendary shoegaze band Slowdive. Mojave 3 is acoustically oriented folksy guitar surf pop with a country tinge. Neil Halstead knows how to write a song.

Teitur: Stay Under The Stars

Beautiful and melodically strong collection of songs from Teitur. Probably his best album to date. Organic stuff.

Serena Maneesh: Serena Maneesh

This is one of the very best rock albums I encountered in the noughties. An amazing album that cuts through the history of rock and brings out the very best. Full of contrasts. Noisy, chaotic, wild and raving but also serene, beautiful, melodic and shimmering. Their 2nd album Abyss In B Minor (2010) doesn't disappoint.

Sonic Youth: Rather Ripped

Legends rip off themselves and play on it in the album title. This is not samey sounding, this is an album where Sonic Youth manage to distil their qualities into a collection of relatively short concise songs. They really know their craft and they've created their own language within rock music. I'm a fan.

Thom Yorke: The Eraser

The head honcho of Radiohead wents his electronic leanings on this not exactly cutting edge but still very decent collection. Moments of pure beauty here and there.

Justin Timberlake: Futuresex/Lovesounds

A brilliant pop album. Faroese graphics & film wizard Thomas Koba described it as "Michael Jackson releasing the Bad album without any lead vocals". In some sense that is the perfect description.

Bob Dylan: Modern Times

There's a boxing ring somewhere where this album and Serena Maneesh's debut album fight for the title of album of the year 2006. Great songs. Tradition. Lineage. And what an amazing voice. I mean that. Bob is probably my favorite singer in the world.
When people say that they prefer Bob when other people sing his songs it makes about as much sense to me as preferring Jimi Hendrix when other people play his solos...

Trentemøller: The Last Resort

Nice soundscapes. Last year's follow-up Into The Great Wide Yonder adds cinematic surf tones to the mix. The attention to detail is impressive.

120 Days: 120 Days

Along with Serena Maneesh this is one of the better bands to come out of Norway/Scandinavia in recent years. Love this album. Epic stuff. There's a lot of synth in rock these days but it's often put to mediocre use. These guys are an exception. They know their synths. Their 2nd album was out the other day. Seeing them live at Loppen next week.

Jóhann Jóhannson: IBM 1401, A User's Manual

Icelandic composer/musician. Jóhannson is also in Apparat Organ Quartet (four organ players and a drummer that make insanely catchy and groovy rock!) He's also a composer on his own. This album is very beautiful. I think I hear some Arvo Pärt in there. The story behind the album is quite moving.

Honorable mention:
Gestir: Burtur Frá Toftunum

I play keys on this so I can't really say anything. Just want to point you in it's direction.


(Ahk Toong Bay Bi) Covered - a track review

If I was to choose my favorite rock album in the world, it would probably be Achtung Baby by U2. An almost perfect amalgamation of really strong songwriting and sonic adventurousness. An incredible work where the band completely reinvents itself yet maintains the very core of what U2 is all about. Regarding reinvention I haven't run into anything similar elsewhere. Maybe Kid A by Radiohead comes close. Close, but not cigar.

Achtung Baby turns 20 this year and a lavish repackaging project is out now in celebration of the 20 year anniversary. Q Magazine is also celebrating the anniversary by releasing the tribute album (Ahk Toong Bay Bi) Covered with their December issue. They've commissioned covers from an interesting bunch of artists. I've given the album a few spins and below are my reviews/ratings of each cover from best to worst.

Stream the full tribute album here

1. Gavin Friday: The Fly
F*ck yeah! Gavin Friday is Bono's longtime friend/soul mate and he has known the band since forever. He pops up here and there in their history. I remember noticing him credited as "consultant poptician" in the liner notes for the Pop album and thinking it was really cool. I've also come upon descriptions of him as "the dark side of Bono" and it is said that the MacPhisto character from the Zoo TV tour is based on Friday's persona. He does solo work every now and then and he used to sing in a weird Dublin band called the Virgin Prunes. They were part of the same kind of milieu that U2 were part of in the early days. This cover is just a really cool and ballsy deconstruction of "The Fly" which in my opinion is one of the best rock songs in the world. Ever.

2. Jack White: Love Is Blindness

Wow! The final track on the best album ever gets an intense reworking by White. Wouldn't expect anything less, really.

3. Garbage: Who's Gonna Ride Your Wild Horses
Not sure if every aspect of the production works and I've never been a big fan of Garbage, but this is still surprisingly good. Shirley Manson taps into some emotional potential that doesn't always shine through in the original (or; it depends on the mood) and there's something about those chord changes and the sound of the track that I really like. Beautifully imperfect. Like the original, actually.

4. Depeche Mode: So Cruel
OMG! It's Depeche Mode covering "So Cruel"!!!

5. Patti Smith: Until The End of The World
OMG! It's Patti Smith covering "Until the end of the world"!!!

6. Nine Inch Nails: Zoo Station
OMG! It's NIN covering "Zoo Station"!!!

7. U2: Even Better Than The Real Thing (Jacques Lu Cont Mix)
Achtung Baby marked the point where U2 became heavily interested in dance music and began commissioning remixes from dance producers from all over the world so it's only fitting that a remix made it onto this album.
I've always liked their remix discography - it's like an alternative dance floor history of U2 - and there are some real classics in there. The funny thing is U2 have had people remix their music for 20+ years so the different remixes are done in different styles that fit with what was contemporary at the time. Some of the early 90's remixes have a really cool Madchester/acid house/euro vibe to them. "Even Better Than The Real Thing (The Perfecto remix)" and "Salome (Zooromancer remix)" are great examples.
The great thing about this new remix by Jacques Lu Cont is that even though he's tackling a track that is 20 years old the result doesn't sound awkward. It's just sounds fresh.

8. The Killers: Ultraviolet (light my way)
I've always considered The Killers to be heavily U2 inspired so this makes sense. A fitting cover that adds a dash of theatricality to the proceedings. And Brandon Flowers has the pipes for it. Nice enough.

9. Damien Rice: One 
Apart from a certain on/off intensity in the voice I find Mr Rice to be a bit of a dull fellow musically, mostly because his original material tends to be too bland. Here he's working with an absolutely amazing piece of songwriting and the result is actually quite ok - the sombre low register vocal does a certain justice to the song - but in no way does it beat Johnny Cash's version on American III: Solitary Man (2000).

10. Snow Patrol: Mysterious Ways
The funkiest track on Achtung Baby reworked as a ballad. Ranks high in the "covers should be interpretations and not just rehashes of the original"-department. Pretty and nice. That' about it.

11. Glasvegas: Acrobat
I really really REALLY love the song itself. There are some days when no other song in the world expresses and summarizes more clearly and intensely how I feel and think. But sadly the Glasvegas version doesn't do much to it. Uses the same tricks to lesser effect. The original track is breathtaking. U2 at what is probably their most shoegazey.

12. The Fray: Tryin' To Throw Your Arms Around The World
A great song reworked as run-of-the-mill FM radio crap. Thanks but no thanks.


So, is it any good? Yes, I think so. This is a tribute album that proves its point: the original album by U2 is an amazing piece of work. Not a single weak track. A masterpiece. It's fun to hear the interpretations of each song and how they illuminate different aspects of the songs. It is also fun to be reminded that I'm not the only one who loves and finds challenge and comfort in the grooves of Achtung Baby. There are millions of us out there.

Album tracklist:
01. "Zoo Station" Nine Inch Nails 6:28
02. "Even Better Than the Real Thing" U2 (Jacques Lu Cont Mix) 6:39
03. "One" Damien Rice 5:26
04. "Until the End of the World" Patti Smith 3:36
05. "Who's Gonna Ride Your Wild Horses" Garbage 5:16
06. "So Cruel" Depeche Mode 6:02
07. "The Fly" Gavin Friday 4:16
08. "Mysterious Ways" Snow Patrol 4:48
09. "Tryin' to Throw Your Arms Around the World" The Fray 4:33
10. "Ultraviolet (Light My Way)" The Killers 4:53
11. "Acrobat" Glasvegas 4:08
12. "Love Is Blindness" Jack White 3:20
Achtung Baby original album cover


Thoughts on music #9 - Pierre Schaeffer

"We learned to associate the lute with the Middle Ages, plainsong with the monastery, the tom-tom with wild and primitive man, the viola da gamba with courtly dress. How can we really not expect to also find that music in the 20th century relates to machines and the masses, the electron and calculators?"
-Pierre Schaeffer (source: Adventures in Sound liner notes)



Foto: Sunnvá H. Olsen

Seinnapartin í dag - tá tað longu var vorið myrkt úti - gekk eg mær ein túr í heystluftini í Keypmannahavn, meðan eg umhugsaði nøkur viðurskifti.

At eg fór til Føroya sum vinstrahippie, og kom niður aftur sum høgraborgaradýr (um vit halda okkum til politiskt avgamlar stereotýpur).

At eg ikki kann hanga fastur í tí sama, um tað sama ikki er gott nokk.

At eg kenni tað sum um eg havi vent Tjóðveldinum baki, og at hetta nívir meg.

At tað ikki slepst uttanum, at valkampanjan hjá Tjóðveldinum var vánalig. "55.000 fólk í Føroyum í 2020" ? Solveig hevði bestu viðmerkingina; "hatta fær meg at hugsa um bann av p-pillarum og hítum".

At tað ikki er avgerðandi, men at tað tó spælir inn at grafiski samleikin hjá Tjóðveldinum var millum teir ljótastu. S/h myndir við grønari bakgrund er uppskriftin uppá eina mishátta plakat.

At tað gleðir meg at Framsókn er til.

At sama Framsókn hevði eina mikið væleydnaða kampanju, innihaldsliga eins væl og grafiskt, har flokkurin stóð seg so nógv best.

At Framsókn valevnini, ið eg sá og hoyrdi, skaraðu framúr við merkisvert bullshit fríum politiskum orðalagi.

At tey sum heild tosaðu um politikk sum eitt ræðuliga spennandi og avbjóðandi ting, ið tey hjartans fegin vildu sleppa í gongd at arbeiða við.

At systir mín Sunneva ikki royndi at sannføra meg, og at hetta m.a. var tað, ið sannførdi meg.

At eg leiðist við top-down psykososialt snikksnakk á vinstraveinginum.

At fólkið hvørki er tollut ella óhjálpið.

At fólkið skal hava mest møguligt frælsi at útinna sítt. So skulu vit nokk síggja.

At ov nógv viðurskifti standa í stað í føroyskum politikki.

At høgra/vinstra er ein skipan, ið politikkur verður filtreraður í gjøgnum til tess at gera nøkur ting greiðari og lættari at fata, men at hon ikki er endaligi sannleikin, og at simplistiskar høgra/vinstra fatanir elva til uttanumtos, ið er við til at varveita politiska stillstøðu.

At høvd mítt hevði hug at groovað aftur við nýggjastu upptøkum/edits/miksum, ið Jens L. Thomsen hevur sent mær úr London, og at eg gleði meg at koma í gongd við plátuna aftur.

At tað eftir hetta var ein frægd at leggja oyru til ein konsert bootleg við mínari størstu tónleikahetju Bob Dylan, ið vit fara at hoyra live í Malmö um 3 dagar.

At Kant er á skránnið komandi vikuna.

At eg havi kandidat-tilval í "Estetiskari Hugsan", umframt eitt skeið í grundfakinum tónleikavísindi, og frá nú av og inntil jólar verður tað lesnaðurin, ið fer at skræða dagar og nætur úr kalendaranum.

At kalendarin skal sleppa at eiga dagarnar, og at eg skal sova um næturnar.

At eg gleddi meg at koma heim undir brús, og síðani at fara til borðs saman við Solveig, og fáa mær burturav teirri fantastisku grønmetis lasagnu og tomatsalat, ið hon borðreiddi við. Grønmetis grundaði døgurðin boðaði á allan hátt eitt frískligt ískoyti aftaná eina gastronomiskt fantastiska, men eisini mikið kjøtiliga heystfrítíð í Føroyum.

At tað var ein góður gongutúrur.


Burial vs. Massive Attack

Very beautiful track. English producer Burial reworks "Paradise Circus" by Massive Attack. The original features the vocals of American singer Hope Sandoval (of Mazzy Star and Hope Sandoval & The Warm Inventions).

I was not too crazy about the original version by Massive Attack but then came two remixes (a remix and a dub version) by Brazilian techno artist Gui Boratto that did more justice to the track. Those were quite upbeat. And now this...this is just amazing. A slow, haunting, atmospheric, dark, dubby, enveloping post-urban soundtrack where Burial adds his trademark ghostly sample vocals - heaven knows where he digs out those vocal samples - and interplays them with Sandovals hazy croon. Brilliant! Not a very big fan of the whole dubstep thing but Burial is an incredible artist. Both his albums - Burial (2006) and Untrue (2007) - are great.

(The clip above is taken from Mary Anne Hobbes' XFM radio show. I think her monologue towards the end contains some views on Burial that seem a bit too much of the essentialist, speculative kind...but kudos to her nevertheless for sharing the track with the world!)


Sunleif og Teitur í Norðurlandahúsinum

Grafikkur: Marianna Mørkøre
Vóru á forkunnugari konsert í NLH í gjár. Á skránni vóru verk eftir Teit Lassen og Sunleif Rasmussen.

Lagt var frá landi við frumframførslu av "Jordpigernes Drøm" hjá Sunleifi Rasmussen - orð eftir William Heinesen - fyri kór (DR Pigekoret), tubular bells og klokkuspæl. Henda framførsla royndist væl. "Surround kórið" hevði eina góða effekt; meginparturin av kórgentunum stóðu á pallinum, men so stóðu nakrar og sungu á balkongunum úti í síðuni, eins og nakrar sungu aftanfyri áhoyrararnar. Ein var so at siga umringaður av einum havi av røddum.

Eg minnist at ein líknandi "surround" effekt var nýtt, tá Oceanic Days symfoniin hjá Sunleifi var frumframførd í 2000. Tað er rættiliga upplagt at gera sær dælt av ljódligu dimensjónunum í konsertsalinum á henda hátt, tí so er tað ikki einans vanliga "tú sær tað tú hoyrir" stereo myndin, ið verður bjóða fram. Er henda surround nýtslan ordiligt framd, so stendur hon sterk og serstøk eftir í minninum. Tað gjørdi hon eisini hesaferð.
Upplestur úr "Tornið við heimsins enda". © Anna Maria Dam Ziska, Röddin.fo
Nýtslan av tubular bells var eisini eitt gott ískoyti. Ótrúligt sum hesar klokkurnar hava ein ófrættakendan dám yvir sær. Fór at hugsa um Cantus in Memoriam Benjamin Britten hjá Arvo Pärt og sjálvandi "Tubular Bells" hjá Mike Oldfield. Ikki tí at kompositorisku snildirnar vóru serliga líkar, men tí at ein kendi aftur klokkurnar klang.
Hjá Pärt er talan um harmasong til minnis um enska tónaskaldið Benjamin Britten, meðan lagið hjá Oldfield var nýtt sum temalag í tiltikna horror filminum The Exorcist. Tubular bells tykjast sostatt at vera knýttar at tí dapra og beinleiðis óunniliga í populera tilvitinum.

Í programminum fyri konsertina sigur Sunleif soleiðis um verkið: "Lagnan, ið altíð er til staðar í tekstunum hjá Heinesen, gjørdist fyri mær sera nærverandi í øllum sínum ræðuleika, tá eg mitt í skapanartilgongdini hoyrdi tíðindini um sorgarleikin á Utøya uttanfyri Oslo. Valið av Tubular Bells og klokkuspølum sum fylgispæl til kór og solistar, tykist vera ein ávarðing, tí Tubular Bells eru at samanbera við kirkjuklokkur. Verkið er tí ognað teimum ungu sakleysu offrunum fyri ræðuligu hendingini á Utøya".
Kórið syngur. © Anna Maria Dam Ziska, Röddin.fo
Nú hoyrdi eg verkið fyri fyrstu og higartil einastu ferð, so eg fekk ikki reiðiliga tak á bygnaði o.ø. í verkinum, annað enn at byrja var við upplestri úr "Tornið við heimsins enda", og at sangur og tónleikur síðani tóku yvir. Ætli tó at hoyra verkið aftur, tá høvið einaferð býðst, um tað so verður á konsert ella í innspældum líki. Higartil kann eg siga, at mær dámdi væl at vera eitt sindur vilstur í ljóðhavinum, ið fevndi okkum áhoyrarar.

Eftir hesa framførslu kom Teitur á pall, og sang nøkur av sínum løgum saman við DR Pigekoret. Síðani sang Teitur nøkur løg einsamallur, og hevði sjálvur fylgispælið á klaveri. Eftir hetta solo interlude kom kórið Tarira á pall, og framførdi nýskrivaða verk Teitur'sar Nice Mans Anger, við orðum úr skaldsøguni Freedom eftir amerikanska rithøvundan Jonathan Frantzen.

Eitt rættiliga skemtiligt verk, ið royndist væl í sjálvum sær, men av onkrari orsøk verið eg raktur av akuttum tærnakrympi hvørja ferð eg hoyri eitt føroyskt kór syngja enskan tekst. Tað er okkurt við tjúkku, tungu accentini, ið barasta ikki "klikkar". Tað hevur ein kiksaðan dám yvir sær, ið eg havi ringt við at rysta av mær. Tó var verkið í sjálvum sær áhugavert.
Teitur á palli saman við DR Pigekoret. © Anna Maria Dam Ziska, Röddin.fo
Sama við næsta og seinasta verkinum á skránni hetta kvøldið; Weekdays, ið konsertin bar heiti eftir. Eisini eitt spildurnýtt verk - ella ein "ræðuliga langur sangur", sum Teitur skemtiliga og óhátíðarliga tók til - eftir sjálvt sama Teit Lassen. Eitt verk, ið hevur sjey satsir, ein til hvønn dag í vikuni. Fyri hvønn sats var ein s/h mynd eftir Marionnu Mørkøre, ið hevur staðið fyri tí grafiska í sambandi við Weekdays, at síggja á stórskíggjanum handan pallin. Hetta var einfalt, og riggaði væl.

Sum heild bar tónleikaliga innihaldið í Weekdays brá av skiftum millum droymandi harmoniskar klangir og eitt ávíst rútmiskt repetetivt/endurtakandi element. Mítt fyrsta inntryk var at verkið sum so er eitt framhald av tí, ið Teitur hevur fingist við seinnu árini. Instrumenteringin var ikki heilt ólík teirri á The Singer frá 2009, og lagasmíðið var í trá við tað, ið Teitur hevur fingist við seinnu árini. Tó gekk alt fyri seg á einum størri skala;  tilfarið var strekt longur út í tíð, pláss var fyri meira "abstraktum" løtum, og røddirnar vóru spjaddar út í fleiri ljóðføri. Tarira og DR Pigekoret áttu sínar løtur, eins og strúkarar, klaver, harpa, klokkuspæl, vibrafon o.s.fr.
DR Pigekoret á balkongini, syngja við í Weekdays. © Anna Maria Dam Ziska, Röddin.fo
Í onkrum løtum fekk tónleikurin meg at hugsa um amerikanska tónaskaldið Steve Reich. Eg veit ikki um hetta er tí at Teitur hevur heinta sær íblástur higani, ella tí at hetta ber til at siga um so at siga allan nýskrivaðan tónleik, ið spælir sær við klassiska instrumentering, er tonalt funderaður og inniheldur eitt minimum av rútmiskari repetitión. Nøkur eyðkenni hjá Steve Reich og minimalismuni annars eru nettupp konsonantir harmoniir, stabilur pulsur og endurtøka av einstøkum frasum/motivum/figurum. Í Weekdays vóru eitt nú dagaheitini sungin endurtakandi upp til fleiri ferðir, og tóktist hetta at peika beina leið aftur til Reich.

Stílurin lá onkrastaðni á markinum millum einfalda og greiða sangskriving við ávísum popp elementum - soleiðis sum vit kenna tað frá Teiti - og meira flótandi nýklassiskar tendensir. Tó ikki meir enn at tað sum heild bar væl til at fylgja við í sum oftast akkordiska og íoyrafallandi tónleikinum.
Ein avgerðandi munur var sjálvandi tann, at røddin hjá Teiti ikki var við, so hóast ein kendist við heilt nógv, var ítøkiligi ljódligi samleikin, røddin, ið vit eru vorðin von við, tikin úr. Hetta riggaði heilt væl, so skjótt ein gjørdi sær greitt, at tað var hetta, ið hent var.
Tarira syngur sætta satsin "Saturday" úr Weekdays. © Anna Maria Dam Ziska, Röddin.fo
Teitur er eitt mikið spennandi tónaskald, ið hevur ment seg nógv gjøgnum árini. Hann tykist drivin, og hóast hann á summum økjum telist millum okkara mest fullfíggjaðu tónleikarar, stendur hann ikki í stað, men fer leitandi víðari og leggur nýggjar tættir afturat sínum úttrykki. Spennandi er at fylgja við gongdini.

Alt í alt ein væleydnað og forvitnislig konsert við nýggjum tilfari frá tveimum av okkara áhugaverdu tónaheilum. Tit, ið hava atgongumerki til konsertina í DR Koncerthuset í Keypmannahavn 3 novembur kunnu byrja at gleða tykkum.

Sí annars fleiri myndir her


Wooden Shjips

Wooden Shjips. Photo by Paul Carlin
Been digging psychedelic drone rock band Wooden Shjips for some time now. They play a cool blend of Stooges/Suicide/Spacemen 3 style rock music with a distinct touch of 60's psychedelia. It's not retro for the sake of retro, but the music invokes those aspects in the present and sends them of into the future.

Before we go any further I first and foremost have to direct your attention towards their absolutely amazing song "Down By The Sea", which just might be their best one so far. Do your self a favor and immerse yourself in the full near-eleven minutes of this glorious piece of freaked out psychedelia: 
The song is a great example of the band's music: droning organs, repetitive cyclical grooves, spacey vocals and incendiary guitar work. The music has some almost static qualities to it, but it's never boring. It's dynamic and interesting at the same time. Quite an enveloping listening experience.

We saw Wooden Shjips at last year's Roskilde where I also bought their self-titled debut and sophomore album Dos (contains the bit of awesome in the clip above) on vinyl. They're playing at Loppen - my favorite live venue here in Copenhagen - on Saturday. Reeeeeally looking forward to it.

The band's third effort West is out now and this great review in The Guardian pointed me in the direction of the band's namesake "Wooden Ships", a cool Crosby Stills & Nash song from 1969:

Stills: If you smile at me, I will understand
'Cause that is something everybody everywhere does
in the same language.
Crosby: I can see by your coat, my friend,
you're from the other side,
There's just one thing I got to know,
Can you tell me please, who won?
Stills: Say, can I have some of your purple berries?
Crosby: Yes, I've been eating them for six or seven weeks now,
haven't got sick once.
Stills: Probably keep us both alive.

Wooden ships on the water, very free and easy,

Easy, you know the way it's supposed to be,
Silver people on the shoreline, let us be,
Talkin' 'bout very free and easy...
Horror grips us as we watch you die,
All we can do is echo your anguished cries,
Stare as all human feelings die,
We are leaving - you don't need us.

Go, take your sister then, by the hand,

lead her away from this foreign land,
Far away, where we might laugh again,
We are leaving - you don't need us.

And it's a fair wind, blowin' warm,

Out of the south over my shoulder,
Guess I'll set a course and go...

What a great song with a fascinating series of photos to go with it. All the photos are from the year 1969. The hippies were really on to something. There must have been an amazing vibe in the air back then. Hearing this song and watching the images in the video made me smile. Imagine...

The lyrics have an eerie darkness to them though, and seem to hint at a post-apocalyptic scenario where civilization as we know it has been destroyed. Heavy stuff, and yet there seems to be hope in the distance. Wooden Ships might sail us off into the horizon. The song was re-recorded in 1970 by Jefferson Airplane.
Album cover for West by Wooden Shjips
The interplay between being aware of the darkness while also pointing towards the possibility of hope is precisely one of the main themes that are perceivable in the music of Wooden Shjips.

They seem fascinated by California and "the West" as a concept (just look at that cover image of the Golden Gate bridge spanning the opening of the San Fransisco Bay into the Pacific Ocean) but they're not naively worshipping the psychedelic culture.
 Here's a video clip from The Drone where guitarist/singer/leader Erik "Ripley" Johnson explains what the band is out to do, interspersed with live footage:

So yeah. Great stuff. I've already posted one song from their 2nd album, so I'll finish this off with one song from the debut and one from the new one. First, the debut:

"We Ask You To Ride" is the opening track on Wooden Shjips and it shows the band when it's at its most stripped down and stark:

And last but not least; a song from the new one. This one is called "Lazy Bones". It's upbeat and cool. Go check out Wooden Shjips if they play in your town. We will be at Loppen on Saturday night -  cool Danish kraut jam rockers Causa Sui will be the supporting act - and I've got a feeling it's going to be a great night!


Bon Iver + James Blake

Two of the year's records that have been playing a lot on my iTunes and on the stereo are James Blake's debut album James Blake and Bon Iver's sophomore album Bon Iver. Both artists are on to something that's happening now. I've felt them to be related somehow. There have been many instances when James Blake made me think of Bon Iver's record and vice versa.

Which is why it made sense to hear their recent collaboration where Bon Iver handles vocals and James Blake produces:

Beautiful. Both artists are playing in Copenhagen this coming fall. We got tickets for James Blake in Vega while Bon Iver in Falconersalen is sold out. We'll be on the lookout for tickets...


Piano Phase - music and emotion

Music and emotion. Emotion in music. A lot to consider. During spring semester I followed a course called "Music and Holocaust" as part of my studies at the Department of Musicology at Copenhagen University.

One of the cases in point was Henryk Górecki's Symphony No. 3, op. 36 (also known as the "Symphony of Sorrowful Songs"). The reception history of the work and its placement within the Holocaust discourse is quite interesting but that's not the main point of this post.

While discussing the work, the course lecturer asked the class what the musical characteristics of the symphony were and what tradition/musical direction it might be said to relate to. I mentioned the immediate similarities to American minimalism (Steve Reich, Terry Riley, La Monte Young, Philip Glass etc.), the similarities being the fact that the symphony is tonally based and makes use of a certain amount of repetition.

The 2nd movement Lento E Largo: Tranquillisimo. Notice the final one and a half minutes where one chord is repeated throughout without diminuendo. Try listening to the timbres and voices of the strings through headphones. Pure bliss! 

In response to this, one of the other students pointed out that Górecki's 3rd is much more emotionally charged than the works of American minimalism that are often characterized by a more intellectual compositional approach. Also the work makes use of functional harmony associated with romantic classical music as opposed to the droning, consonant harmonics and harmonic stasis one often finds in minimalism. He was of course completely right about this - Górecki's 3rd has some quite romantic or "cinematic" qualities that are hard to come by in American minimalism.

But this made me think about what we mean when we talk about emotions in music and the thought came back when I listened to some of Steve Reich's stuff again. Mainly Piano Phase. What struck me about the piece is that even though it is entirely a piece of process music and represents a strictly minimalist, intellectual approach to composing, I find it to be simultaneously brimming over with what I perceive to be a deep seated emotional drive. The difference is that the emotion isn't obvious or on the surface level; it comes forth at an almost subconscious level. It's very powerful and I believe it has something to do with hypnotism and meditation.

Here's an excerpt from Peter Aidu's solo performance (!) of the work:

The full performance is available as a free 256kbps MP3 download here

It's almost transcendent. It is transcendent. That's what I look for in music. I don't care if you use an electric guitar, a laptop, a score or two rocks to achieve it; hint at the possibility of transcendence and you got me hooked...


G! Festival '11

It's difficult to say this in short since this event is close to my heart.

Tomorrow morning we're heading to the 2nd music festival this summer. Roskilde in Denmark was first and now comes G! Festival in the Faroe Islands where I am from.

The G! Festival is located in the village of Gøta on Eysturoy. Gøta is the neighboring village of Leirvík where I've lived 16 of my formative years.
Main stage on the beach. Photo by metro.co.uk
To put it short G! Festival is an amazing festival. I have been a part of it since the beginning and I have so many awesome experiences tied to it. I was also involved in the music collective GRÓT from which G! Festival grew out of. GRÓT was founded in 1998 and began to arrange concerts and make stuff happen. For me GRÓT made a lot of things seem a lot less impossible.

The G! Festival was held for the first time in 2002 when it was only a one day festival. I have performed at the festival with various line-ups (as keyboardist for the bands Gestir, Marius, Petur Pólson and Högni and thrice as a solo act) in 2003, 2004, 2005, 2006, 2007, 2008 and 2009 and will also be performing this year on the electronic DJ stage Grundin/Ground Zero.
Grundin/Ground Zero. Photo by metro.co.uk
Familjen (SE) performing at Grundin 2009. Photo by MOMO
Thursday night at 03:00 I will be playing the closing set under my üBERNöRD moniker and saturday night at 23:00 me and my girlfriend will open the stage. We call ourselves Sugardaddy & Honeypie. Since 2010 I have also been working at the Grundin stage as stage manager. I did not perform at G! in 2002 and 2010 but did work at the festival. So yeah. I am quite involved with this festival.

Good times at G! Festival
The festival line-up is cool and eclectic. Since the festival has somewhere between 5000 and 10000 attendees we're not talking colossal budgets and therefore not colossal budget style bands. Which is totally ok. There's a lot of good stuff to see + hear anyways.

This year's headliners are Scottish pop rockers Travis, Swedish prog/groove extreme metallers Meshuggah and legendary American gospel act The Blind Boys of Alabama. Other notable international acts are Mugison (IS), Fallulah (DK), The Tennessee Mafia Jug Band (US) and Movits! (SE). Among the Faroese headliners we have ORKA, Petur Pólson, SIC, Týr, Budam and Högni. I'm also looking forward to see upcoming bands like Guðrun & Bartal, The Mirror Men, Hamferð and Gipsy Train.
Camping below the misty mountains. Photo by Jens Kr. Vang
Unfortunately the Grundin DJ stage has had two cancellations: Cypress Hill founder DJ Muggs and Danish electro duo Fagget Fairys were to be perform but had to cancel. But we will be putting everything into making it a special experience nevertheless and if you ask me the line-up still looks to be promising a great party: Sexy Lazer (IS), HumanWoman (IS), DJ MrGillis (SE), Lorney Ashley (UK), Brynjolfur, Herr Gott, Swangah Dangah, Sugardaddy & Honeypie and üBERNöRD :)

Good times in Gøta! Photo by Serge the Concierge


Roskilde Top Five + honorable mentions

Portishead. Photo by Solveig H. Olsen
Roskilde '11 was one more brilliant experience. We missed some shows but catched other unexpected ones. An in all we saw some really good bands. I've written a few lines about my favourite shows this year and found a couple of relevant videos from Roskilde '11. My personal top five was:

1. Portishead
Such an intense and beautiful performance. During the final song Beth Gibbons left the stage to say hello to fans in the front row and she talked briefly to my girlfriend's sister, thanked her and her friends for coming and even gave her a hug. My girlfriend's sister is 18 years old and was completely blown away by the experience. Kudos Beth!

2. Iron Maiden (UK)
Man they rocked. They've been at it for over 30 years and have such an amazing interplay. To me this band represents integrity. They keep going and stay true to themselves. And they have a shitload of melodic and catchy metal tracks to choose from. I called an old friend of mine during "Blood Brothers". We saw them play the very same song at Roskilde '00. Good times.

3. James Blake (UK)
This guy is doing something unique. His sound is rooted in older genres like soul and Jamaican dub as well as newer dubstep etc., but simultaneously it sounds like the future. The show had a kind of mellow start but the music soon built up a stretched out dub feel and at times there was even a techno pulse underneath. Towards the end we could hear rolling thunder and see a lit up sky outside the tent and the rain began to pour down outside. Blake and co. re-captured our attention with a brilliant "The Wilhelm Scream". Sublime and goose-bump inducing.

4. Janélle Monae (US)
A brilliant pop concert. What a star! She has an amazing voice, charisma and stage presence, and a kick ass backing band. She played a cool selection of her own tracks along with covers of Stevie Wonder and The Jackson 5. The band set-up with Monae in front had a James Brown vibe to it. She's referencing the past with a firm focus on the future. A bit like James Blake, actually. Very cool.

5. M.I.A. (UK)
Some Danish reviewers didn't fancy this show but I didn't get that. We had a great experience. Minimalistic, energetic, beat driven, edgy and full of attitude. M.I.A. was cool.

Honorable mentions:

Tame Impala (AU)
Their first show in Scandinavia. Been listening quite a lot to their 2010 debut Innerspeaker. It's a batch of good psychedelic groove rock tracks with melodic pop twists. The reviewers thought the Roskilde concert was too laid back or something. I found it to be good. Not the best of the festival, but a good show nonetheless.

Electric Wizard (UK)
played a great doom/stoner set friday at noon. It was kinda early for doom/stoner but we sat outside the tent in the sun and I couldn't help myself from air drumming along to the heavy grooves. Great stuff.

Mastodon (US)
did well early on friday evening but I was feeling kind of queasy. We sat in the back, had a bite to eat and walked around stalls while listening to them in the background. If I had been feeling better I would have been more into it. They were probably really awesome. I just needed to reload.

Swans (US)
played their dark noisy post-punk blues late friday night but since there was significant overlap between them and Portishead we only saw the last third of the Swans gig. It was a really good third though.

Hymns From Nineveh (DK)
played a beautiful set early saturday. Couldn't find a clip so here's a clip from Danish TV. The band had more members at Roskilde. Drums and bass and guitar and backing vocals and stuff as well as the people in the video below.

Kloster (DK)
My biggest regret this year is missing Kloster later the same day. It must have been good but for whatever logistical and recreational reasons we didn't make it. Bummer.

OFWGKTA (Odd Future Wolf Gang Kill Them All)
The new crew in hip hop. Energetic, chaotic and a lot of fun. Ones to watch.

Chris Cunningham (UK)
freaked us out big time on saturday night.

I Was A King (NO)
played their blend of 60's pop and 90's rock early sunday. Really cool. Will have to get into their recorded stuff.

The Walkmen (US)
were also really cool on sunday afternoon. I'll have to check out their recorded stuff as well.

Gold Panda (UK)
Played his swooning electronica stuff for us before we headed of to see Janélle Monae. Couldn't find a video from his performance.

That's another Roskilde for ya. T'was good, t'was good indeed.
Iron Maiden. Photo by Solveig H. Olsen


Roskilde '11 Jukebox - Saturday

Seeing + hearing saturday. In order of appearance.

Hymns From Nineveh (Odeon @ 13.00)

OFWGKTA (Cosmopol @ 15.45)

Elektro feat. John Tchicai (Gloria @ 17.00)

TV On The Radio (Arena @ 18.00)

Kloster (Gloria @ 19.00)

James Blake (Cosmopol @ 20.00)

Yelle (Odeon @ 21.00)

The Strokes (Orange @ 22.30)

Chris Cunningham (Arena @ 23.30)

Deadmau5 (Orange @ 01.00)

Lykke Li (Arena @ 01.30)


Roskilde '11 Jukebox - Friday

What we're planning to see + hear. In order of appearance.

Electric Wizard (Pavillion @ 12.00)

Bright Eyes (Arena @ 14.00)

Ölöf Arnalds (Gloria @ 15.00)

The Raveonettes (Orange @ 17.00)

Matthew Dear live band (Cosmopol @ 18.30)

Mastodon (Orange @ 19.30)

How To Dress Well (Gloria @ 21.00)

Portishead (Orange @ 22.30)

Portishead will no doubt be good but it sucks that there's overlap between them and:

Swans (Odeon @ 23.00)

Afterwards we might catch a bit of:

DJ Koze (Cosmopol @ 00.00)

Before we head over to:

M.I.A. (Orange @ 01.00)

and if we're still up to it end the night with:

Iceage (Odeon @ 03.00)


Roskilde '11 Jukebox - Thursday

What we're planning to hear + see. In order of appearance.

Tame Impala (Odeon @ 18.00)

Foals (Arena @ 20.00)

Iron Maiden (Orange @ 21.30)

...and then what's left of:

02.00 PJ Harvey (Arena @ 22.00)


ORKA: Óró - nakrir tankar

Orka: Óró (2011)

Eg havi nú í eina tíð livað við Óró, plátu nummar tvey frá Orka, og gjørt mær nakrar tankar um hana. Eri dekan ov inhabilur til at skriva eitt ummæli - havi kent limirnar í nógv ár, og arbeitt saman við teimum í ymsum samanhangum - so hetta verður eitt viðmæli.

Debutplátan Livandi Oyða umboðar í mínari verð eitt ómetaliga sterkt konsept. Sameiningin av býi og bygd, tí urbana og tí rurala, er einki minni enn genial.

Henda sameinda dualisma fevnir eisini um sjálvan bygnaðin og raðfylgjuna: á síðu 1 er tilfarið, ið upprunaliga var innspælt í fjósinum Innan Glyvur um jóltíðir í 2005, og á síðu 2 finnur ein remix frá Deadverse (Alap Momin), 3rd Eye Foundation (Matt Elliot), Bookworms og Com-Data (Jens L. Thomsen og Ólavur Jákupsson).

Fimm upprunaløg eru á síðu 1, og hvørt av teimum hevur fingið eitt remix á síðu 2. Tey fimm remixini eru í somu raðfylgju sum teirra originalar á síðu 1. Gjøgnumført.
Debutplátan Livandi Oyða (kom út í Føroyum í 2007)

Talan er eftir mínum tykki um feitasta savn av remixum, ið higartil er framt í sambandi við eitt føroyskt navn. Eitt nú eru experimental hipp hopp útferðin "Í mínum æðrum (Deadverse RMX)" og dapurt reikandi ljóðkollasjan "Volmar letur eygað aftur (3rd Eye Foundation RMX)" dømi um tvey fantastiska væl avstaðfarin remix.

Remix parturin og plátan sum heild fekk annars eina rættiliga lunkaða viðgerð í eitt nú Dimmu og í Kringvarpinum. Tað helt eg var spell, tí tilfarið er av høgari góðsku, og tá tað harafturat verður latið í ein konseptuelt gjøgnumførdan ham, átti móttøkan at verið hareftir.
Tað skal tó nevnast at systur mín (inhabiliteturin veksur í hvørjum) gav plátuni fult stigatal, 6 út av 6, í Sosialinum. Gott at onkur var vakin í tímanum...

Ná, nokk um tað. Nýggj pláta er úti. Óró.
ORKA. Pressumynd.

Tað er áhugavert at ORKA hesuferð hava nýtt somu tilgongd sum á fyrru plátuni: skapað okkurt burturúr ongum.

Hóast nýtt tilfar var skrivað meðan túrað var við Livandi Oyða, var farið undir upptøkurnar uttan sangir; uttan frammanundan outlinaði hugskot. Limirnir høvdu einans upptøkuútgerð, mikrofonir og eina "location", ið hesuferð gjørdist Saltfiskasølan í Havn. Ljóðkeldurnar vóru funnar á staðnum, og síðani smíðaðar og formaðar og settar saman í rútmiskar og klangligar strukturar.

Hetta háttalagið hongur eisini nógv saman við navninum á bólkinum; "Orka", energi, ið verður til í samspæli millum luttakandi tónleikararnar, men tó ikki er tengd at nøkrum statiskt galdandi frymili. Konseptið er plastiskt og í áhaldandi broyting, og fevnir eisini um skiftandi manningina í bólkinum.

Minnist at eg eina seina nátt úti á Lombardigade á Amager proklameraði at "eingin fastur limur er í Orka! Ikki eingong Jens!"
Var í so glaður tað løtuna. Lítil ivi er um, at Jens er snúningsásurin í Orka. Heilin. Uttan hann var einki Orka. Men áhaldandi broytingin og bólksins modus operandi, eru talandi dømi um hvussu sterkt konseptið er, ið Jens hevur borið í heim.
Orka á 2011 túringini: Høgni Lisberg og Ólavur Jákupsson ovast, Alap Momin og Jens L. Thomsen niðast. Uni Árting er við á plátuni, men ikki avmyndaður her.

Tá útlendskir miðlar skulu samanbera Orka, verður víst á týsku Einstürzende Neubauten so at siga hvørja ferð. Hetta er heldur ikki heilt burturvið, men mær tykir at ein annar týskur bólkur er uppaftur meira viðkomandi, tá vit tosa Orka og referansur.

Bólkurin eg hugsi um eitur Faust. Í (frálíku) BBC dokumentarini Krautrock: the rebirth of Germany síggjast tveir limir í Faust spæla uppá blandimaskinu í einum fjósi. Hetta er nógv mest ítøkiliga og beinrakna referansa eg havi sæð uttan úr heimi. Tað er okkurt við hugburðinum, andanum og listarligu tilgongdini, ið Orka og Faust hava í felag.
 Faust. Mynd: Manuel Wagner

Eitt annað viðkomandi navn eru hipp hopp pionerarnir Public Enemy, hvørs massivt samplaðu wall of sound kollasjur og ágangandi "in your face" tilgongd livað víðari í eitt nú støvutu 90'ara trip hop sósini hjá Tricky, Massive Attack og Portishead, og í uppaftur nýggjari amerikonsku duo'ini Dälek, har annar limurin er Alap Momin, ið stóð fyri áðurnevnda "Volmar letur eygað aftur (3rd Eye Foundation RMX)" og nú er við í Orka. Hjá Dälek er hipp hopp arvurin frá Public Enemy settur inn í ein experimental/shoegaze/IDM samanhang.

Tað áhugaverda er at Dälek hava gjørt plátu saman við omanfyrinevndu Faust. Plátan Derbe Respect, Alder (2004) er úrslit av samstarvið bólkarnar millum. Faust innspældu tað mesta av tónleikinum, og Dälek tóku síðani yvir og manipuleraðu tilfarið víðari til tað sum hoyrist á lidnu plátuni.
Hesir ymsu træðrirnir hava onkursvegna funnið sær veg niður í tað mold, hagani Orka sprettur. Ein munur er tó, at meðan ættfadrarnir Public Enemy samplaðu longu innspældan tónleik (á LP), fara ORKA út í óvæntaði støð at leita eftir ljóðum og ljóðførum.
Teir leita og síggja út sum rockarar ímeðan. Mynd: Ólavur Jákupsson

Ein fyrimunur við hesum, er at ljódligi alheimurin hjá Orka er sera egin. Hóast íblástur hómast frá undangongumonnunum omanfyri, setið eg ikki konkretu ljóðmyndirnar beinleiðis í samband við annan tónleik. Hetta er kanska serliga galdandi fyri rútmisku ljóðini, ið fungera sum trummur og ásláttur av ymsum slag. 

Ein ella onnur gigantisk metal hurð niðri á Saltsøluni í Havn hevur sín egna klang, og hesin hevur ongantíð áður verið at hoyrt á plátu. Inntil nú.
Útrykkið á Óró er myrkt. Sera myrkt. Flestu ljóðini ferðast bókstaviliga í myrkaru frekvensunum. Bassur og dun og svartur pulsur. Hetta riggar væl, tí dragandi røddin hjá Ólavi er ljósi kontrasturin, ið sveimar omaná.

Orðini eru eitt sindur duld, og ein fær brotamyndir við á vegnum. Jú meir ein lurtar, jú fleiri setningar og orð leggur ein merki til. 
Hetta at goyma sær orðini eitt sindur, kann ofta vera eitt feitt trick, og fær meg at hugsa um My Bloody Valentine og aðrar shoegaze bólkar, ið gera nógv burturúr at javnseta røddina við hini ljóðførini.

Dälek eru t.d. eyðkendir av hesum shoegaze estetikkinum, so tað kann vera at tað er íkomið umvegis Oktopus og hansara leiklut á útgávuni. Ólavur hevur eisini mangan gjørt sær dælt av hesum eitt sindur "dulda" sangháttinum. Eg haldi tó at tað sagtans ber til at fylgja við í tekstunum. Um ein tímir og ger sær ómak og hevur oyruni til tað.
Orka í 2007: Jógvan Andreas á Brúnni, Jens L. Thomsen, Kári Sverrisson, Magni Højgaard, Bogi á Lakjuni. Mynd: Jógvan Andreas á Brúnni
Á fyrru útgávuni vóru yrkingar hjá Jóannesi Nielsen latnar í tónlistarligan ham, men á Óró hevur Jens sjálvur skrivað tekstirnar. Mær dámar væl nógv av tí, ið eg tekstliga havi bitið merki í. Fari her at nerta við okkurt, men ikki alt. Byrjunarlagið "Órógv" sigur m.a.:

eg síggi langt inn í teg 
langt inn í brotna landið
alt tað, ið var, er tað, ið verða skal

eg kavi djúpt inn í tað lovaða
eg síggi fram og aftur
alt tað, ið var, tað verður

Hetta leiðir mínar tankar á tvinni støð í Bíbliuni; tá Móses stendur og hyggur inn í lovaða landið, ið hann hevur leitt fólkið til, men tó ikki sleppur inn í sjálvur, og eitt vers í Prædikaranum:

"Tað, ið verið hevur, er tað, ið verða skal, og tað, ið hent hevur, er tað, ið henda skal, og einki nýtt er undir sólini." -Præd. 1.9

Týdningarnir eru tó ikki bara bíbilskir ella religiøsir. Hetta kann t.d. eisini fatast sálarliga; at hugt verður inn í innara landslagið.
Fái eitt sindur kensluna av at vit rísa upp úr fornum - at hetta er ein nýggj byrjan, ein kagan inn í ein nýggjan heim - men at hetta nýggja samstundis verður vovið úr sama teppi sum tað, ið frammanundan kom. Í næsta lagnum "Betri Tíðir" verður m.a. sungið:

umaftur og umaftur 
læra vit av feilum okkara
jørðin melur runt og runt og runt
og vit blíva størri og sterkari

Eg havi næstan hug at kalla hetta evolutións gospel (!), og síggi hetta sum eitt framhald av byrjunarlagnum "Órógv", ið m.a. tosar um eina rødd í eini á. Í "Betri Tíðir" verður tosað um at tingini henda umaftur og umaftur - ein variatión av Prædikaranum omanfyri - men hesuferð er endurtøkan positiv; vit læra av feilum okkara og gerast "størri og sterkari". Umaftur og umaftur. Eitt bæði lívfrøðiligt og andaligt vend tykist vera komið í.
Orka live í Saltsøluni í Havn. Mynd: Torkil Djurhuus/Röddin.fo
Eg havi oftað hugsað hatta um Prædikaran. At hóast tað hann sigur hevur nakrar daprar týdningar, so er tað eisini okkurt forloysandi í tí. Endurtøka. Umaftur og umaftur. Tað, ið verið hevur, er tað, ið verða skal. Tíðin fer avstað við øllum. Eisini sorgini yvir at tíðin fer avstað við øllum. Ikki ordiliga neyðugt at tuska runt og vinda seg upp í skúm, ha?

Evolutiónstankin hómast annars eisini í "Rúmdardrongurin":

eg eri føddur av nýggjum
eg eri úrreivdur
eg eri komin niður úr trøunum
eg havi stoypt mín egna Gud
nú er tíð at siga farvæl til rúmdardrongin

Eru vit komin so langt sum til ber her á jørðini? Er næsta stopp úti í rúmdini? Eitt sindur av Star Trek og "the final frontier" yvir hesum, um enn eg ivist í um tað er júst Star Trek, ið Jens hevur havt í tonkunum. Hvussu enn er og ikki; tíðin er komin at biðja rúmdardronginum farvæl.
Orka live í Saltsøluni í Havn. Mynd: Torkil Djurhuus/Röddin.fo
Eitt hitt vakrasta lagið á Óró er "Aldan Reyð", ið m.a. sigur:

nakin oyða
skola kvirr

lekur út brunatár
á roðini

himmalsárið skrædnaði
opaði varrar
úr svartanum
goysti aldan reyð

í tí stóra djúpinum
 allar keldur
opnaðu seg
og brimgarðurin brast 

Teksturin spælir sær við kontrastfyltar myndir av eldi og vatni. "Sólaráin", "brúnatár", "aldan reyð". Myndir av av eldgosi og flótandi lava vera manaðar fram fyri innara eyganum, hóast lýsingar- og navnorðini hava við vatn at gera; "skola", "áin", "tár", "goysa", "aldan", "keldur" og "brimgarður".  Feitt og livandi yrkt, haldi eg.

Fyrra plátan æt Livandi Oyða. Eitt rættiliga sigandi heiti fyri eitt land sum Føroyar, hvørs landslag á mangan hátt er oyði og bert, og tó ber tekin um lív frá menniskjum, seyði o.s.fr. Í "Aldan Reyð" verður tosað um eina "nakna oyðu", og um ættarliðið, ið "liggur spjatt".
Føgur gatefold og gul vinyl. Mynd: Knút H. Eysturstein
Veit ikki hvørt tað loysir seg at fara ov nógv í smálutirnar afturat við hesum. Har er sumt, ið eg eisini kundi komið inn á, men eg haldi at tú, góði lesari, skalt ogna tær eitt eintak av Óró, og koma fram á tað sjálv/ur. Eg haldi meg alt í alt kunna siga, at tað býr ein djúp melankoli aftanfyri úttrykkið á Óró. Tað sama var eisini galdandi á Livandi Oyða. Sterkt og sorgblítt. Tað er hvat tað er. Vert at fara eftir og kanna nærri.

Óró er ein pláta sum veksur, so hvørt ein lurtar, og komið verður nærri inn at tí, sum gongur fyri seg á henni. Hetta er ein nokkso mystiskur og duldur heimur at byrja við, men hevur tú fyrst fingið fótin innum, so hevur tú hug at vera verandi og orientera teg á hesum nýggja staðnum. Læra ymsu krókarnar at kenna.

Ein feit pláta, sum er komin fyri at vera.