THE ART OF A SOPHOMORE TOP 10 LIST!

The long silence is ending today - and nothing seems more appropriate than picking up where it ended exactly 1 year ago; with the Top 10 list of live shows!
Before I get on with it I'd like to add that 2013 will be a year of dramatic personal change. To me it seems more and more important to practice what you preach, so therefore I'm taking the next step. Inspired by an event I was involved in earlier this year, 1-DAY HARDCORE SHOWDOWN, as well as our donation policy in Screaming Records, I will set up a foundation in the new year. As I write I'm finalizing the entire foundation concept and will naturally announce it here on this blog when it's ready to launch.

But back to the Top 10 list! Just like last year it was incredily difficult nailing the final Top 10 so it's in every aspect the little things that made the difference. For that reason I've decided to add a few notes to each of the shows in and just outside of the Top 10 list.
Some of the shows that didn't make the final Top 10 include -

VOLBEAT @ Wacken Open Air - I simply couldn't look past the appalling level of security and the over the top light 'design'. When a band is so solid and has songs with impeccable melodic flair and power, there is no need to cover them up in more colours than you can count and blinders. The´lack of front barriers at this (huge!) festival is literally scary. The actual performance and the set list was close to perfect and having Barney from Napalm Death as a special guest for "Evelyn" was fantastic - OUTPUUUUUT!

TRAPPED UNDER ICE @ 1-DAY HARDCORE SHOWDOWN, Copenhagen - TUI is one of my favourite hardcore bands in recent years and their "Big Kiss Goodnight" is one of the best HC albums I've heard in a very long time. The show was great, the pit was decent but the set list could have included just a couple of bangers more. The little things.

REIGN SUPREME @ KB18, Copenhagen - I've waited about 3 years seeing this amazing hardcore band from the US and in no way did they disappoint me. The fact that only 30-40 people decided to show up is not surprising in Copenhagen but it still reflects on a HC show that lives off the energy from the crowd. That energy wasn't there this night. However, that didn't matter to RGNSUP who came across as not only the fantastic band their releases also confirm but also as extremely sympathetic guys.

THE UNDERTONES @ Docks, Hamburg - I was at the Reeperbahn Festival in Hamburg, saw in the festival programme that THE UNDERTONES were scheduled to play on the friday and naturally figured it was another band! But it was the original alright (of course not with Feargal Sharkey) and they truely delivered! The Docks is a fairly large hall and playing a music business festival can be tricky but they sawed it in half.

THERAPY? @ Pumpehuset, Copenhagen - I saw this fantastic band from Northern Ireland at the exact same venue in December 1999 when the biggest hurricane i over 100 years hit Denmark and basically paralized the entire country. Being a fearless (and stupid) stubborn idiot I forced my way through the chaos and saw then play in front of 8-10 other people that also made it through the hurricane. Seeing them again 13 years later was both a trip down memory lane but also a perfect display of how musicianship can get better and better over the course of years. Truely impressive!

With these honorable mentions I can proceed to the actual Top 10 --->

01. COCK SPARRER (UK) - 25th of November 2012 @ Amager Bio, Copenhagen, Denmark
-> It's one of my favourite bands of all time and being there to celebrate their 40th anniversary was amazing. I've chosen this show over their 40th year anniversary show in London in December.
Even though the show was not sold out the band delivered the most intense show I've seen them play, had some surprises on the set list and seemed more thankful than ever to be able to do what they're doing. COCK SPARRER is the class A example of genuine ethics and good style!

02. SANTIGOLD (US) - 8th of July 2012 @ Roskilde Festival, Roskilde, Denmark
-> Expectations were very, very high which, for me at least, usually results in disappointment. But my oh my was this worth the wait (missed her performance at Roskilde a few years back). She has everything and also in a live setting. The impeccably cathcy songs, strong vocals, style, back up dancers/singers, tight band, production and charm. The show was absolutely perfect and an amazing crowd from start to finnish!

03. L.O.C. (DK) - 30th of November 2012 @ SCC, Aarhus, Denmark
-> Not much to say really - it's the strongest Danish artist I have ever seen. Professional beyond, dedicated to the extreme and frightingly intense. I saw 6 shows on this fall tour and had very little trouble picking the best one although they were all close to being flawless. Seeing the tour end on his old home turf in front of 3500 people was just pure magic.

04. NIGHT FEVER (DK) - 21st of July 2012 @ 1-DAY HARDCORE SHOWDOWN, Copenhagen, Denmark
-> Admittedly I have a soft spot for this K-Town hardcore punk band. But what's not to like really? They take the best they know from the past, mashes it all together and out comes this irrevocably great sound. I've seen them half a dozen times and this was the very best one to date! A packed hall, although still early during the night, as if everyone knew this one had to be seen! Regular melodic slaughter for 30 minutes!

05. NIKLAS (DK) - 7th of July 2012 @ Roskilde Festival, Roskilde, Denmark
-> A regular surprise to say the least. This YouTube and Spotify phenomenon had, prior to Roskilde Festival, played just 1 show with the backing band he had with him. So it wasn't really in the cards that this would be much more than surviving to be honest. But it turned out the other way around - one 60 minute high. The best morning party as a review read the following day. Ever changing in between extrovert and introvert, equally playful and, on a day like this, able to hold 10.000 people in a firm grip!  

06. BY THE RIVERS (UK) - 23rd of April 2012 @ BETA, Copenhagen, Denmark
-> The biggest surprise this year! This young UK duo were supporting The Slackers on their European tour and really made the best of it. BY THE RIVERS is normally a 6-piece reggae/ska band but on this run - in order to fit on the bus I guess - they played acoustically as a duo and in my opinion that's where the magic is. Finely selected covers of reggae songs and own material and so much charm!

07. REFUSED (S) - 30th of March 2012 @ Debaser Medis, Stockholm, Sweden
-> To be honest the REFUSED didn't do it for me when they were around in 1990's. I was much more into the US hardcore scene and would prefer Snapcase, SOIA, etc. any day of the week. The more experimental stuff the REFUSED sent out during the latter stages of their run didn't appeal to me much either. So little to no expectations before this partly secret show in Stockholm!
But it didn't take more than a couple of minutes before I got it - throughly I might add. The band's material is so strong, regardless which of their phases we're talking about, and they carry it out with so much conviction it's frightening. Sure, they've borrowed from their predecessors, especially early on, but you know what? I don't think they would have a problem admitting that! Au contraire. They would fucking send out odes to them all! Respect!

08. BABYLOVE & THE VAN DANGOS (DK) - 5th of May 2012 @ Katapult, Aarhus, Denmark
-> Danish soldiers of ska & rocksteady! Indeed! I've seen the band perform countless times and they never ever disappoints. But this show was magical from start to finnish. The venue was small and completely packed as it was SPOT Festival in Aarhus - part music business / showcase type deal. The show was the second to last show on the band's spring tour so their form was startling. The fact that music professionals were there must have raised the bar even more because every beat, cry, strum and brass note were delivered with so much ferosity and intensity.

09. TIMBER TIMBRE (CAN) - 21st of March @ Huset I Magstræde, Copenhagen, Denmark
-> I figured this Canadian sensation would perform as a band, so I was sceptic when I saw Tayler Kirk enter the stage alone only accompanied by his battered guitar. But for the most part it was plentyful with just him, his voice and his arrangements. I caught myself drift away several times (the right way!) and the fact that everyone was sitting down served to increase the intensity. For those who don't know what TIMBER TIMBRE is it's rightfully described in a review as "an aesthetic rooted in swampy, ragged blues".

10. RANCID (US) - 14th of December 2012 @ The Forum, London, UK
-> Never really a fan and one of the reasons why RANCID make it to the Top 10 with this, their 20 year anniversary show in London (co-headlines with Cock Sparrer), is because of their peculiar approach that really impresses me. Despite swopping drummers long ago, the band is still in original line-up and both Lars Frederiksen, Tim Armstrong and Matt Freeman are all, perhaps rightfully, modern punk rock icons. I've never had the desire to see the band live so this was my very first time - in celebration of their 20 years as a band!
What immediately hit me is that Tim Armstrong barely plays guitar live and is more often than not removed from the mix! It looks like his incapable of playing and he spends the majority of the time delivering his signature moves and looking like an extra from a slasher movie. There to cover it all up musically is Lars Frederiksen with his stunning rhythm guitar work. He holds it together and is truely an amazing guitar player. With Matt Freman's noteworthy basslines and Branden Steineckert's superply tight drumming you have a very impressive trio with an additional member placed front and center! But it doesn't matter - it more than likely wouldn't work any other way!
Seeing the show I'm reminded how many great tunes the band has penned and just how well it actually works live - and also how well they're received. Someone told me after the show that they're 'like a machine'. I actually think it's very, very organic and I'm utterly impressed with the way they've decided to work around their weaknesses and compensate with great song writing and musicianship. I may just decide to see them again if I get the chance!

THE ART OF CREATING A TOP 10 LIST!

I've always been keen on Top 10 lists and narrowing it down to what I experience the most in my everyday life (live shows) seemed like the biggest challenge; so here we go!

Needless to say, a Top 10 list is as subjective as it gets and it could not suit me better really. Specifically, in regards of this Top 10 list of what I consider to be the best live shows of 2011, I have paid attention to just about everything that gets me going. It's ranging from technical skills, theatrics, sheer volume, aggression, passion, crowd control and interaction, anticipation, settings, props and just about everything else in between.

That being said it's still been incredibly tough deciding for the final Top 10 for which reason I need to mention just a couple of shows that didn't make it - but just as well could have. E.g. Cock Sparrer at Astra in Berlin, Killing Joke at Roskilde Festival, Madball at The Rock in Copenhagen, Entombed at The Rock in Copenhagen, Volbeat at Store VEGA in Copenhagen, Buster Shuffle at Loppen in Copenhagen, Babylove & the van Dangos at Loppen in Copenhagen and last but not least Deer Bear at White Trash Fast Food in Berlin.

So with no more explaining needed - here is my Top 10 list of best live shows in 2011:

01. DANZIG (US), Amager Bio, Copenhagen, July 6th
02. L.O.C. (DK), Roskilde Festival, Roskilde, July 3rd
03. MORRISSEY (UK), Operaen, Copenhagen, July 11th
04. TERROR (US), Roskilde Festival, Roskilde, June 30th
05. ALCOHOLIC FAITH MISSION (DK), Lille VEGA, Copenhagen, February 26th
06. KELLERMENSCH (DK), Eurosonic, January 13th
07. ARCTIC MONKEYS (UK), Roskilde Festival, Roskilde, July 2nd
08. THE PEAWEES (I), BETA, Copenhagen, November 25th
09. SICK OF IT ALL (US), The Rock, Copenhagen, April 23rd
10. AUTOPSY (US), Roskilde Festival, Roskilde, July 2nd

Can't wait for the 2012 list!

SOMEWHERE BETWEEN BALANCE & APATHY

It's been quite some time but good things take time and I'm happy to say that I'm going through tremendous progress on my book and several essays and excerpts will be used over the next few months.

However, this blog needs updating too and I find that I should stick with the music topic rather than anything else. So what you're about to read below is a text I was asked to do in connection with a forthcoming release from a Danish hardcore/punk band. Value defining and personal check ups are more important than ever to me, so I hope you enjoy reading this as much as I did given it proper thought. Info on the band will come soon enough ;-)

It's entitled SOMEWHERE BETWEEN BALANCE & APATHY, which of course is a spin-off on a classic Social D. album but also a state of awareness which seems difficult reaching.
All this and more you find in the text below.

XXX
Frydenlund
..................................................................................

SOMEWHERE BETWEEN BALANCE & APATHY

When asked to do an introduction to this release my immediate thought was to do a complete lash out - a dimensional wake up call. But this serves little to no purpose, except for worthless egocentric boosts. So instead I decided to elaborate on pieces of the lyrics I stumbled across on this EP.

A returning subject seems to be that of moral recession and secondly apathy. This I would like to extend my thoughts on in the below standing. All from a hardcore/punk perspective – but as we all know the lines are thin and crossover is the new black. So these thoughts may very well apply for something far more common than a subcultural scene based on a seminal-conservative set of values.

To understand the content and extend of what may be considered moral recession it’s important to look at the state of political awareness – especially among our peers. Because it really is harsh swinging about with statements such as moral recession – or moral decay even – so please consider this a well-needed spit in the other direction, an observation of contemporary punk/hardcore culture and a cry for an update on values. 

Originating from a hardcore/punk background you first have to investigate the basics of the subculture while closely following the development of the scene - both dependently (it’s place and importance as opposition) and independently (measuring the temperature of the scene so to speak). Like society, people and the environment it’s dynamic; it’s constantly evolving. First and foremost to maintain it’s relevance and importance in society. Tendencies and trends come and go, of course, but the basics remain.

So with no risk of stretching it too far the basics of hardcore/punk values should surely include; political awareness, scepticism towards authorities and, to some extend, DIY ethics. The latter may also include the will and desire to stand out from mainstream society as well as radical thinking and provocative behaviour.

With these simple codes I’m not considering the extremes such as anarcho-primitivism, hardline neo-religious sXe or even leftism and/or anarchism. For the purpose of this reflective text we’re keeping it simple in order to come to grasps with the basics of hardcore/punk mentality. This way I’m hoping the points of the release will come across crystal clear.

Staring off with political awareness, I’m fully aware of the fact that the term alone will raise some eyebrows. But please let me explain. Every person, band, action or statement is political! Everything we do, or perhaps more importantly in this context, do NOT do has its effects. By not taking side or by not asking questions we’re indeed accepting. It really is as simple as that and there are no excuses.

We become what we buy, in my opinion, and that goes all the way to slaughterhouse, the rain forest, the destroyed farmer lands, the corporate factories and around the globe to the still prevailing child laboured businesses still producing relentlessly. Considering that there are indeed proper and righteous alternatives to all of this, across the board, makes it unfathomable and unbearable at the same time. 

 

It also applies when we, as a band, submit ourselves to playing age-limited shows, corporate sponsored events or don’t even question our own ticket prices – we’re accepting! It’s by all means a political action because then the artists are supporting the actions made.

It’s irrelevant whether or not it’s out of convenience or because it’s more lucrative – if anything that makes matters even worse as that should constitute a direct conflict with the basic ideals of hardcore/punk. As mentioned – the basics remain…or at least they should!

This naturally leads me directly onto the 2nd point - scepticism towards authorities. Now please pay attention to this. It’s no secret that in our day and age politics are largely governed by business, which immediately should make the alarm bells go off. The national budgets are heavily depending on how well the commercial businesses are doing. By choice even! Instead of wasting any time advocating for a reverse of this let’s rather focus on how this affects us.

Legislation upon legislation have over the years made sure that the corporate businesses have all the game, control and power they need. Call it monopolized society or just call it a turn for the worse.

Take the breweries for instance – look at the brand value and consider any major music event in the US or Europe (even little Denmark is surely no exception) and explain me how this works. The interdependency between ’state’ and ‘business’ has become so strong and tied together that nobody’s questioning it anymore. Just think about it – when it boils down to it, it’s a product dictating the culture. And if it’s not alcohol then it’s banged up sugar and caffeine on a can or even hard liquor preserving your cultural events of choice.

Since Europe in many ways is a direct reflection of the US I dread the horror stories of North America being repeated over here. Who knows, maybe the way that aspartame (e.g. NutraSweet) was allowed being used in foods as artificial sweetener could also happen in Europe. Because of a direct political scam this dangerous stuff received approval to be used in foods in the US. Then it took little time for Europe to fall into place. Please look into aspartame and see what it really is as well as the surprising side effects.

So, bringing myself back to the point, when your band is playing an event or tour it really is a multi-layered political statement being made. And I’m not pointing in any direction here or commanding right from wrong – I’m merely asking for a value check while distancing myself entirely from apathy that seems to be taking over – also in the hardcore/punk environment in case you’re in doubt. However, it seems paradoxical that punk/hardcore bands are often seen in contexts where this interdependency is strongest of all.

This has a lot to do with the basics of DIY ethics in its core – the 3rd point I’m listing above. With a DIY approach and know-how; both as a person and as an artist, you’re capable of controlling your own output. And by controlling I mean choosing right from wrong really. It doesn’t take any strain or require anything special reality-checking once in a while. Configuring your personal moral codes if you will. If anything I would consider it a mental workout. If it hurts then you know something’s wrong!

So whether your desires are growing your own veggies, setting up your own shows, writing for a fanzine or even more direct political activities these desires will hopefully origin from a reflective stand and not one of convenience or self-absorption. The desire should make the action a necessity. 

A punk/hardcore band’s DIY ethics should at the very least include: control over or complete insight into all managerial decisions. It’s as simple as that and please let me to elaborate.

In full coherence with the fundamentals of DIY ethics of the original punk scene, activities are, generically laid out, recording of music, producing of albums, artwork, distribution of releases, merchandising and all live performances.

Some bands are lucky enough to have immense capabilities within the circle of just the band members or friends and some bands are as far from that as imaginable and need allies. I’ve always found it odd that many squat-type venues refuse to deal with booking agencies – please bare in mind that the bands assign their own agents. But as with every business there are independents and corporate offices so perhaps wise to start there.

So when a band assigns an (independent!) agent to control a certain territory it seems vital to me that the band has a direct interest in what happens from there on. Which promoters are the agent(s) dealing with (again from a non-corporate perspective)? Which ticket prices are being fixed? Are the shows all-age shows and so on. All the same points as made in the above already. You cannot hide behind an agent (or management company) – it’s solely up to the artist to take an interest in this. The easy approach would be to have a set of basic rules of what goes and what doesn’t go. Care!

I’m sorry to say that this is far from the order of the day – on the contrary really. Again I think this has more to do with apathy than actual ill will, which brings me right back to where I started.

Without ridiculing anyone, without pointing any fingers and without insinuating that what I’m suggesting is the ultimate truth, then please give it all a thought or two.

Counter-culture, when it’s dishonest, is merely an illusion just as ‘power as individuals’ sentiments is worthless if you wish for a radical change for the better. This can and will only happen if we work together.

If we listen to a narrow set of voices we quickly find ourselves listening to our own echo that communicates nothing more than our own self-satisfaction. On the other hand, if we keep drifting out of sheer convenience or apathy we might as well join the other side figuratively speaking. It’s all about balance. And balance comes at a price.

THE ART OF AWARENESS

I've been busy compiling material for my forthcoming book slated for a summer 2012 release. However, two short business trips to Berlin and New York respectively have given me a booster to include this post in order to keep this blog (slightly) active. What you find below is my thoughts on the contemporary music industry and the fact that very, very few artists have what can best be described as awareness.

Perhaps originating from punk/hardcore aesthetics - but not long ago it mattered what surrounded a show, what values and views a magazine had, whether the radio was commercial or not, if the event or tour you were offered to play was corporate sponsored or what the ticket price of your show was projected to be.
These things, this mindset used to matter to musicians back in the days when integrity was still a word in the daily vocabulary. The fact that these views and perceptions are pushed so far in the background or  erased altogether has to do with a change of values that makes us even more shallow than in the 80's and is certified proof that apathy is the new black.
And we're not just talking about the world-renowned "punk" bands you see touring Europe and the US, charging ridiculous amounts of money resulting in sky-high ticket prices. It's across the board really - the so-called Indie scene is probably the worst exerciser of this paradoxical double standard but naturally the perception of the case-study becomes much clearer by using the prime example of the "punk" or "hardcore" band not being aware.

The essential meaning of punk and/or hardcore is opposition. It's underground; it stems from the underground and it remains underground. If underground goes mainstream it looses its effect, meaning and danger. It's as simple as that - and there is absolutely nothing wrong with this. But when it happens it's over and a new underground movement must be created out of real initiative, real creative, real problems and real danger.
It all has to do with politics. Because being apolitical, in my opinion, is not possible. Every choice we make in life has a clear political dimension and our personal relations and situations are directly affected by politics. There is no denying this. This means, in all its simplicity, that by not taking side, by not taking a stand, you are indeed taking one!

So when a band (let's for the sake of the story say it's a random US hardcore/punk band) is claiming its hardcore roots and referring to their socio-political lyrics on injustice while still participating in a corporate sponsored event, promoted by a corporate monopoly-promoter at a ticket price a regular punk or hardcore kid have no chance of paying - then we indeed have a paradox. Or rather a double standard.

Why this happens more and more often is beyond me. Well, perhaps is saddens me much more than it baffles me.
However, I cannot fathom that artists, despite the volume of shows they may have in a year, don't have an interest in these things. By not participating you're basically cutting fans of - by age (e.g. if it's 18+, 21+, etc.) and class (e.g. ticket prices and outrageous box office fees).

Everything we do, or rather don't do, has it's effects, as mentioned. This is a political action on the artist's part, because what they're saying with these actions is: we support the corporations. We support what is happening around us.
Whether or not they do it out of convenience or because it's more lucrative is not for me to say - but that would be the likely response.

I genuinely believe that you're bringing the music industry, or more accurately the live industry, in danger by being apathetic to this extend. If even the bands claiming integrity, awareness and justice are accepting the above-mentioned (and so much more!) we're headed for destruction. Because this is just starting.

THE ART OF AWARENESS is a kind reminder to take notice and responsibility. There is no hiding, no label, management or agent to hide behind. The artists have the power, then they just need the awareness!

THE ART OF BEING PROPER

The blog has been quiet the past couple of weeks beside the random book recommendations. This is, of course, because it takes time to create great things.

That being said I need to rewind to a couple of my first posts and bring the commitment and approach back in the mix. Because the art of being proper means and entails that you find the balance and act accordingly. This is not at all as far fetched as it may sound; far from actually. If you have a proper way of thinking, a proper way of living and a proper way of acting well, then you have the proper fundament in life.

The proper way of thinking can be summed up pretty easily - to think for yourself, think positive thoughts and think as creatively as possible.

The proper way of living, however, is a little more tricky as this has to be fundamental rather than subjective. So the proper way of living, with fear of sounding redundant, would be to live with respect for all things living and breathing. In our modern days this is far from happening, so maybe it's the perfect time to step back a few steps and re-think a few things. In any case, and in order to add to the fundamental value of living, it has to be as simple as that really.

The proper way of acting should be the natural extension of living and for that reason alone not that difficult to sum up. To remain as objective as possible it has to with acting (and reacting) according to your surroundings, your emotion, your environment and your evolution/process.
In order to make it proper it would necessarily mean that an open mind is required. If a person is fully able to adjust to changes and development in life and at the same time capable of transcending emotional reactions then the fundament appears intact. 

This is just excerpts of a long essay I'm looking to include in my forthcoming book (work title: "Ageless Thinking") that will be published next year. In this book I will include and elaborate on the entire list of entries you find posted on this blog.