Vi har fået påbud fra kommunen om, at vi ikke længere må spille højt til koncerter - i praksis vil vi ikke længere kunne spille livemusik, hvilket er grundlaget for vores driftstøtte og eksistens.
Nabobygningen er opført med utilstrækkelig lydisolering, og under byggeriet advarede vi om, at det kunne føre til problemer, og det er nu gået i opfyldelse.
We have received a request from the municipality, stating that we can no longer play loud music at concerts - this means in practice that we can no longer play livemusic, which is the bedrock of our existence.
The neighboring apartments have bad sound isolation, which is something we warned about, when they constructed it.
A night of post-rock, instrumental rock, and smooth and bright melodies.
And So I Watch You Watch From Afar, who headline Colossal Festival, will play an intimate show here at 1000Fryd along with amazing local heroes Via Mala and exciting new Aarhus-based Eigengrau that tore Fryd apart in December.
Instinct. We all know what it is, but are hard pressed to acknowledge just how it guides us. Instinct subtly defines our identities, despite our attempts to defy it. The Endless Shimmering, the fifth album by Belfast, Northern Ireland quartet And So I Watch You From Afar, is the sound of a band operating on its purest instincts.
Every individual is an algorithm of prior lives and experience acting as its own sovereign entity. Every band is itself a combined algorithm of those instincts, driven by unconscious will to replicate itself in the world as if it were flesh and blood like the people who embody it. The Endless Shimmering is visceral and expressive — decidedly alive and purely instinctual; not conceptualized or postured. It’s ASIWYFA — guitarists Rory Friers and Niall Kennedy, bassist Johnathan Adger and drummer Chris Wee — manifest as a being beyond itself.
“We laid everything bare and put everything we had into the songs,” Adger says. “And we hope people can feel that and use that without us having to be to overt in how we present it. The album was charged with a lot of what we were all going through as individuals, but we wanted to allow it to become people's soundtrack to whatever they need in their life at this moment.”
Perhaps the most immediately noticeable difference on this album is that the ensemble vocals of the previous recordings Heirs and All Hail Bright Futures is dialed back considerably to allow the music to come to the fore. The difference gives the musicians freedom to stretch out and truly shine as performers.
The decision was made early on that this record would not be rushed toward completion and the band allowed themselves the time to let it come together organically. “We wrote around 30 tracks before deciding these 9 tracks would make the record,” Friers explains. “We then spent a long time playing them everyday to allow them to become almost as if we'd already toured them, ingrained in our muscle memory.”
The band flew to Machines with Magnets in Pawtucket, RI in March 2017, aiming specifically to record live performances of the songs. Just as they arrived, a major snow storm brought the Northeast coast to a standstill. “We tracked, ate, washed and slept at the studio,” Friers says. “And 9 days later we had recorded and mixed the entire album just as the snow began to melt.”
The album opens with a brief, hushed guitar murmur as Chris Wee’s forceful galloping beat sets course on “Three Triangles” while the guitars seem to slowly awaken with whining notes that slowly build upon one another until it all abruptly halts. The whole band suddenly kicks in with chopping start and stop blasts as the chirping lead melody leads the proceedings toward a swirling apex. Elsewhere, “All I Need is Space” and “Terrors of Pleasure” show the band at their finest, unfolding complex, bobbing guitar figures over propulsive and jagged rhythms, while occasionally lunging into ethereal blooms at the drop of a hat. The title track’s unabashedly beautiful and hopeful melody begins so quietly, it’s as if it tries to sneak in under the radar as palm-muted arpeggiated chords and a clean plucked single note line asserts an optimism that finally infects the rest of the band, as they join the chorus of, well, near endless shimmering. Album closer “Chrysalism” is just the anthemic rush that makes ASIWYFA’s live shows such transcendent experiences.
Eigengrau er en instrumental kvintet, der eksplorerer i den uudtalte mellemverden, som opstår i leddet fra musiker til lytter, med den ordløse musik som eneste sprog.
Eigengrau komponerer først og fremmest med musikken som mål i sig selv og befinder sig et sted i post rockens panoramiske vidder. Med bevægelser fra sfærisk ambiens til stram stringens, fra polyrytmisk voldsomhed til melodiøse skønhedsøjeblikke, fra minimalistisk plads i rummet til stort komponerede, æstetiske tidevandsbølger kan Eigengrau's udtryk også tilskrives et symfonisk islæt. Mulige genrebetegnelser er mange og det ligger Eigengrau på sinde, at lade lytterne selv tilføje dem alt efter deres individuelle oplevelse.
Det instrumentale udtryk leder ikke lytterne på en defineret vej gennem ord til, hvad der skal tænkes og føles men efterlader et rum til lytternes egen refleksion og dermed muligheden for en unik personlig oplevelse af musikken. Oplevelsen af musikken rummer muligheden for lige så bred mangfoldighed, som der er individer med hver deres perception til at fortolke den.
I numrenes syv til tyve minutters varighed, hvor gentagelsen er en sjældenhed og hvor dynamikken og musikkens facetter er dybt gennemarbejdet inviterer Eigengrau alle til at egenfortolke og opleve musikken i det nu, som virkeligheden er.
Forløsende melankoli, forløsende energi og uforløst kærlighed
Via Mala er et nordjysk, melankolsk rockband. Lyden spænder fra det helt intime og nærværende til det storladne og svævende. Sangene behandler de undertrykte følelser vi alle lægger låg på, og formidles gennem iørefaldende melodier. Det anmelderroste band spiller koncerter, hvor publikum bliver draget ind i et melodramatisk og dynamisk univers, der på en gang formår at være kompromisløst og perfektionistisk med en underliggende, kontrolleret vildskab, der kendetegnes af bandets tætte sammenspil og forsanger Nikolai Lybæks unikke vokal.
Bandet udgav i 2017 opfølgeren til deres debut-EP Out of Sight, fra
2015.Opfølgeren, der har titlen Drifting Apart, er produceret af Asger
Techau, der primært er kendt som trommeslageren i Kashmir. EP'en er indspillet i Asgers barndomshjem i vinteren 2017.
”Jeg er meget stolt af resultatet, og synes at vi har fået det bedste ud af vores dage sammen. Sangene står skarpe og inderlige, og går virkelig ind og rammer”
Asger Techau om samarbejdet med Via Mala.
Drifting Apart er blevet velmodtaget og har bl.a. fået nedenstående ord med på vejen:
”De har en unik fornemmelse for, hvad der virker og for, hvad dit øre
gerne vil have. De giver det til dig og udmærker sig yderligere ved også at give lidt mere”
Bands of Tomorrow
”Via Mala er konsekvent på den nye udgivelse og har skabt sig en
spændende lyd som kan genkendes på den karismatiske vokal som
både ridser og heler i lydlandskabet”
