Hey Guys n gals of EC!
My new band with Florida-based musician James Frown (drums) still needs a bassist and a keyboard player! Still don’t know for sure, but maybe A.J. Herring will play guitar! It started with me writing six songs for a demo, but instead of writing the music too I only wrote lyrics. Actually it started before that when I put posters up around town for non existent gigs by nonexistent bands with names like “Baby Ray & The HonkyTonk Assholes”, “The angry idiots” and “MorgenJern”. The address of the venue was usually corresponding to a rural gas station or some guy's field. Then someone called me out on that last band name sounding like a Black Metal band, but a black metal band with something as rare as a sense of humor (Morgenjern means morning iron. Slang for waking up with an erection for no reason) So I wrote the before mentioned lyrics for the six track Demo Nattesved (Nightsweats) and decided I for once wouldn’t be playing guitar, just screaming my silly lyrics in Danish, and have friends around the globe play the instruments! We will just be sending wav files to each other, then add our instrument and send it on. Sort of like the EC add n pass tapes, but working on it together! I don’t care if I pick the best bassist or keyboard player among you, so I’m just going to have the first person who comments they want to play bass or Ø on here do it. Auditions are lame any way.
Oh yeah make sure you can do multitrack recordings before volunteering!
So my dear old friend Kenni and I recorded a bunch of acoustic music as a duo back when I was known as Lasse Jensen, and he insisted on calling himself Kenni Cocksucker which made a lot of radiostations in the US not able to play us. We did release a 7” record in 2016, the “Livet Er Trist EP” (life is sad EP).
Recently I found six unreleased tracks on my computer.
We did make a few music videos for these songs on my Sony Hi-8 handicam then, but they were never officially released until now. Six songs make up the Daisy EP, five of which we wrote, one “I en Sal På hospitalet” (in a room at the hospital) we discovered in an old songbook I found thrifting. It’s a real tear jerker and pretty much a corny kind of country song in the vain of “Teddybear” or “Roses for Mamma” but it had a certain magic to it when I recorded it with Kenni in my tiny old apartment, which made it fun, if not funny. We used to joke “if everything else fails, let’s just play nursing home gigs”.
The other five tracks range from joyful songs about girls and drinking, to sad songs about regret and broken families, but they all have in common that they're performed by Danish weirdos on two guitars and not much else.
The Daisy EP is available as download or 3” mini CD!
When Lydkollektivet Adolf & The Juice Opened (but actually closed) for Legendary NOLA Bands Die Rötzz and Sick Thoughts in Elsinore)
Remember when I told you guys about Lydkollektivet Adolf & The Juice? I think our most prestigious gig was with these two bands. It was a weird evening for sure.
Kenni decided he didn't want to compete with the Die Rötzz drummer, so he didn't, and attended the gig as an audience member, but the rest of us tried our damnedest. Needless to say, we didn't have a drummer, so we used whatever was at hand to create the percussion. I played broken records, which I had glued back together at random, but at some point the sound technician cut my signal because it otherwise would've destroyed the PA, and at that point I started singing instead. The song we played was ”Jahu Jaha” which is a nonsense word in any language and all languages, and most of the time I took care of the vocals, as Felix's guitar fed back and Martin played the same keyboard riff over and over. Our audience was four people on a couch who left halfway through the gig, but DD Owen of Sick Thoughts stood in the back and told us afterwards that he had considered joining the jam, if he had known we would be cool with it. But of course we'd be cool with it and I still wish he had done that!
It was a fun evening at Elværket all in all and now it's on YouTube at the very least.
My interpretation of Penny Grune-Fae’s Score One:
This was an idea cooked up by Penny Grune-Fae a long time ago. And unfortunately way too few people interpreted her score! I did though, but I still challenge every EC member to do so too ! It would make a great compilation even, just mute the audio and record yourselves playing along to the symbols!
I think that Miss Grune-Fae is truly on to something with this specific score, like when Mark Applebaum used the Danish train schedule as a score, (that piece was called S-tog).
But in some ways Penny’s Score is more interesting and way beyond Mark’s S-tog score! All I can say is DO IT! Steal my video visuals for it if you must, just do it! Can’t wait to see the results,because Penny truly wrote something inspiring!
I just made this video for two new tracks I made with a really cheap drum machine by a brand called “millenium” normally they make guitar stands I think, and a children’s toy keyboard made by “Mr Platinum”. I never heard of anything else made by that company; it might just be an alias among many that are made at the same Chinese factory.
The video side for the first song “Sut mig af for bitcoin” is just a random piece of something I found on my computer. I think originally it was about a nerdy Nintendo fanboy who killed himself when he didn’t like his new videogame. The video part for the other song, “Ditlev Buster Slår Dig Ihjelleren”, I don’t remember why I even filmed. I think it was going to be a mock documentary on the history of toilet paper, but I never finished that one either, so now it is in this video! The songs are both in Danish but “Sut mig af for bitcoin” in English would be:
It’s about 1000 kroner (Danish currency)
Hook it up to a computer
And it will suck you off
Smart phoneality uh-huh
Gets you sucked off
We live in a world
We are living in an era
Where we fuck even more
But love less
So suck me off
“Sut mig af for bitcoin” is a reminder to remember connecting with people offline too in this digital world!
The other song is tricky to translate since most of the words are either actual slang or slang that I made up and was made to sound stupid and uncool. It is a rap song in a way? Maybe even a freestyle rap, since I didn’t write anything down
My old band "Lydkollektivet Adolf & The Juice" which translates to "The Sound Collective Adolf and The Juice" (a pun on the way too trendy coffeebar in Copenhagen called Joe & The Juice), was experimental in a sense I guess, but mostly it was a rock band. We played ZZ Top covers sometime when we had nothing better to do, but the times I remember most fondly was when we jammed over a riff for +30 minutes just because we liked that riff so damn much. A prime example of this type of behavior is our song Ja Ja Jam.
This was based on a bassline that Martin came up with, and then the rest of us did whatever we felt like on top of it. To me that meant saying the Danish words for "yes", "no" and "oh well" over and over again as the vocals; and Felix, the young guitarist and keyboard player did these weird floaty things around the melody on whatever instrument he played. When I played guitar too, I usually just laid down the riff, so he could be playful with his guitar, but most of the time I just sang. Kenni, who I played with in many bands now, functioned as a drummer, but mostly as a bully to the rest of us, playing wrong beats on purpose. So we often had a Yamaha Portasound keyboard with built-in drums playing too, set to "Rock", and most of the time in the same tempo too.
It's a strange thing that anybody actually liked us, but most people did find us to be funny, even the ones who didn't appreciate the music for what it was agreed that it was pretty funny. There were even live concerts.
My favorite concert we did, did not get filmed to my knowledge, but we had half the audience on stage saying "yes", "no", and "oh well". A Local Death metal band got on stage and sang growling vocals they made up on the spot, and Kenni and myself gave our instruments to random punks, then left during the gig to get some beers, then came back. Probably the most chaotic gig I ever did too, but everyone was happy at the festival, no angry people, just drunk stupid Danes late at night rocking out to the lame last band on the bill.
All in all Lydkollekollektivet was a good time, but a short time, since seriousness creeps in through the cracks with rock bands a lot, and we all wanted to do our separate projects more. Martin got pretty serious with a girl he met, and doesn't play music anymore. Felix plays really boring indie rock now (sorry, Felix). But Kenni and I still play together, doing whatever the hell we feel like. Here's an old video we did for a song we wrote in the castle ruins at Søborg, not far from Græsted, were we are from.
Kenni & Lasse mini 3" CD in the making as we speak by the way!
I traveled with my old friend MC Ildebrand to the island community of Langeland lately, since he told me he needed inspiration for recording again. Langeland has many visual artists going there. Since there is water on all sides, and the light falls a specific way, that they find inspiring. I figured this would inspire him too. On the way down there we listened to the Mortiis Album ”Født til at herske” on the car stereo over and over again to get him in the mood of creating epic music. The old house he recorded in was inherited by my father from my grandfather. Neither my father, nor grandfather went there much, just a few times every year to repair damages and cut the grass, and the locals say it is haunted.
MC Ildebrand set up his 8-track Tascam recorder under the stairs of the house, and I left him there until he told me he was finished. This is what came from that. The 90 minute tape ”Midekongens Ø-rige” which means the maggot king's island kingdom wasn't prepared in any way. No ideas were written down beforehand, and all music was made up as it was recorded. The goal was for him to create some ”Epic music” inspired by dungeon synth but it was allowed to do whatever he felt like doing. I lent him my PO-12 drum machine but he mainly used a Yamaha Piaggero digital piano for the creation of this tape. Recorded as it is supposed to be listened to: in complete darkness, just a few candles lit and with a bottle of wine and a locked door to keep the outside world away.
Hey EC riders. Or something!
I recently spent a lot of time messing around with the Teenage Engineering
PO-12 drum machine and some old square wave synths I got at yard sale. After making a bunch of instrumental tracks, that I originally didn’t plan to ever release, I got an idea while listening to the heavy metal CD Probot. Probot is made up of 12 tracks recorded instrumentally at first, then 12 different singers sang on a track each. I was going to get seven friends to sing on a track each, then put it on Bandcamp.
Contributing singers included these EC Community members:
Aimee Naworal, Jeremiah Paddock and Little Fyodor of Walls Of Genius.
and by the way
PLEASE STEAL MY IDEA!!!
I mean, it’s not really my idea in the first place, but I hereby challenge every EC member who would like to do a similar EP to go right ahead!
Hell, Carlos Santana did it too once!
All lyrics on the EP are written by the person who sings them (that is, if they sing lyrics) , all instruments played by me except the flutophone, which was played by Little Fyodor.
The cover art is a piece of mail art by Jeremiah Paddock, that I got in the mail a while ago, but put through an invert effect and in grayscale.
Eric Lappe also known as Goemon047 on the Internet, is a comedian, musician, journalist and videographer. Once on a drunken night I decided to send him a random friend request on Skype, and he accepted, which was beyond me, but he did. Random friend requests are rarely accepted, because there's so many wackos out there. But that's the kind of guy Eric is. He doesn't assume you're insane right away. Since then I had many conversations online with him about electronic and experimental music, video games, Japanese art and language, Basically all kinds of things. I discovered his music through his YouTube channel, and really liked his sound, even if he disclaimed in the video description that he didn't like it himself that much, considering he got better at it since.
Eric's ”Band” is called De-structure and it started out really lo-fi, but it had a nice percussive and somehow asian feel to it (?) not sure what that even means, but he has a lot of good tunes. He sent me a CD of his album alt-esc-world in the mail which has been on heavy rotation in Chateau de Stilletid ever since.
Eric and I exchanged a few letters over the years, and most recently I got him into the music of Bacon Grease (Andrea Knight) and sent him the Stilletid split tape, but we sent each other NES games before, like that time I sent him the Europe and Japan exclusive game Road Fighter.
Eric is a funny guy, and I encouraged him to make straight up comedy videos before, which were not rooted in video gaming or music, and hopefully someday he will make a comedy classic to rival the Marx Brothers! I am sure he will, but his ”Audience” is very video game-centered. I will share the classic ”What the fuck is clam juice!?” with you thought to show you his raw talent!
All in all Eric is a great guy. He's always looking to enjoy new sides to life, which I admire him hugely for. He doesn't seem to ever sit still, unless he is playing a video game or making music on his laptop. Then he doesn't seem to sit very still at those times either.
Viva La Let's get!
Neal Retke submitted a few albums to me for review, and I chose this one.
The opening tracks, "Signed, Epstein's Mother Part 1 and 2" are somehow percussive without the use of actual percussion or any drumming. There are no electronic drums either, as far as I can tell, but it has a percussive quality to it. Like when playing an electronic piano percussively. There is more than one instrument on this but they all work as a percussive electric piano in my ears. Quite an interesting feel to these two tracks. Even the vocals have a drum-like quality to them without becoming rap-vocals, which often happens in this scenario.
These are followed "Alas! The Great Horned Owl Shirked And Doddering Under Ripening Clouds", a spoken word track, which reminds me of something from Walls of Genius tapes of the 80's but in a way, not at all. A modernized version of these yelling-pieces by WOG perhaps? I don't know how else to describe it. I love it though!
"Big Black Goddamn Car" has samples of what sounds like monkeys accompanied by bass guitar arpeggios with a short delay-type effect on them. Then what sounds like vinyl record noise is introduced to give it an analog feel, and short synthesized keystrokes build up into...silence! The track is over, go home please!
"Mother Of Drugs I: The Hissing": the hissing has a lot of ambient pad synths and drums and strings coming in once in a while and cutting out again seemingly at random, but sometimes it sounds like they're played backwards for just a split second before re-introducing the pad synth.
Then "Mother Of Drugs II: The Line" starts with reading of a poem that could have been created with Burroughs' famous cutup technique. A single low key on an upright piano (either MIDI or actual) repeats through the song in the background while sounds are being played backwards in the periphery of the soundscape, until it eventually builds up into the repeating vocal mantra ”The Line” being spoken in a loop fading into...
"Mother Of Drugs III: The Doom Prophet What Is Known As Skippy"
This sounds almost like Gregorian chants and backwards turntable scratches with echoes on them delaying for a while, then a muted guitar through a delay pedal being plucked without any chords being played.
"Hallway Of Glass" starts out with breathing sounds that has been tuned to a keyboard through a sampler (at least that is what it sounds like to my ears). After a few seconds heavily reverberated reversed sounds enter to make a swirling effect almost like an old-fashioned Leslie for an organ. The breathing sounds are percussive in the same way that I heard on the first two tracks of this album. Not worrying as much about the tonality but more the percussiveness of it. I could zone out on this for hours, but unfortunately this track is only 8 minutes and 20 seconds long.
The title track starts out with scrambled voice samples ending in what sounds like "What's up?", then a low almost growling voice accompanies some high pitched notes singing lyrics, which I can't make out but they sound divine. Then the high pitched voice starts emulating a muted trumpet and saying "yes" once in a while, and then the whole symphony of voices (probably the voice of the same person) goes on to a grand finale in the next approximately 8 minutes to invoke all the spirits of the dead in the room and make sure you have nightmares for weeks. The reverberated echoes make this even more potent. I wouldn't recommend listening to this one if you're in a psychotic state; it might convince you to kill the hippy king.
The final track "Bigger Blacker Goddamnerer Car" has a lot of panning going on. It has a woman's voice saying "Big Black Goddamn Car" in different earphones; then a man's voice enters in the middle repeating these words out of sync with her creating what sounds like she is doing the delay effect. A guitar is to be heard in the distance but only a snippet of it , and it sounds like it is pitched onto a keyboard. All in all this sounds like something I'd love to do a cassette release of on Stilletid. I noticed it is 45 minutes long so I sense a split cassette is in order! Neal! Get back to me on that.
4 and a half stars out of 4 and a half stars!!!!!!!!!!!!!!!!
In his post from January 22nd Ditlev requested that Ec participants send items for review.