Tid: 18-23
Scen: Matsalen
Biljett: Förköp 80 kr/I dörren 100 kr.
Åldersgräns: 20 år
Superafton med landets finaste och största ”alternativa” akter.
19.00 Tape (Myspace)
20.30 Hans Appelqvist (Myspace)
22.00 ASS (Myspace)
ASS
After half a decade of living room recordings whilst backing up the Swedish top list artists, versatile punk rocker and instrumentalist Andreas Söderström has made his debut as a solo artist under the name Ass.
It´s a mainly instrumental folktronic journey into a soundscape of multilayers performed entirely by himself. Selftutored amongst the jungle of strings in his father´s bouzoki factory, Andreas is a familiar bearded face in the Swedish alternative music scene.
Over the past years Andreas has played bass with multi-awarded pop princess Jenny Wilson, trumpet and lapsteel with the international renowned electronica project Tape, harmonium, key harp and guitar with the folk orchestras Barr, Pallin, Blood Music and Taken By Trees, the latest incarnation of former Concretes singer Victoria Bergsman.
Tape
When Milieu, the sophomore album by Stockholm based trio Tape, first came out at the tail end of 2003, it sounded like nothing else. Seemingly improvised but still so tenderly composed, it took cues from both the most gentle free jazz and Brian Enos ideas of ambient music but at the same time leaning against both Swedish folk music and broken pop balladry. In the end Tape created something entirely unique. For quite some time it felt like they brothers Andreas and Johan Berthling and Tomas Hallonsten were on their own, whether anyone bothered to listen or not theyd still be walking deeper and deeper down their own musical path, into a very private forest of their collective heart and mind. Slowly, almost as pacelessly as the music itself, they started making friends. And in the process they sold out all copies of the record. That is why Milieu is finally being reissued and restored in this expanded format. While doing so Milieu together with its forerunner Opera became something of a stepping stone – some of us would argue it was the blue print for, if not a new pop the at least a new way of approaching it and a new way of what it could achieve. Tape had very little to do with traditional experimental music, they never fitted into jazz and although many tried to their beautiful songs could not by any means be labelled electronica. Instead it was the genuine gentleness itself of Tapes music that spoke to their soul mates across the world. Milieu opened a door to a musical heart their contemporaries had been trying to reach for a long time. Tape now presented them with the key. At least thats what it felt like for me. Wherever I went the following year I seemed to make friends through Milieu. In Berlin, in Glasgow, in Tokyo. In a book store in Chicago, at a tiny concert with Tenniscoats, Maher Shalal Hash Baz and the pianist Bill Wells among the dragon flies in the southeast of Japan and in an empty Scottish vegetarian café the love we felt for Tapes music brought us together. Were all still very close. I guess what makes Tapes music so special is that it plays just like short stories. The trail of thoughts I want to a great short story to start in my head and heart. Where the sentences, the dialogue, are just a blank canvas for the reader to project her own loves and regrets on. And in music theres no need for translation. The sound of Milieu remind me of the books of Tove Jansson, the Finnish writer of the beautiful stories from the Moominvalley (especially the masterful Moominpappa at Sea and Moominvalley in November). Im never sure if theyre really about childhood summers and winters long gone, the ones that I somewhere deep inside just know never really were as good as they seem when I try to remember them. Or if theyre about me now, all grown up and pushing 40. Tape stir up such forgotten feelings, they restore fading pictures we dont really want to share with anyone else. Or in some cases have forgotten they were ever there in the first place. The aching slowness of these melodies awaken reluctant nostalgia; a forced sentimentality. And they do so without the aid of words, only with the purest music; the electricity in the air that surrounds the captured moment. Andres Lokko, London W11, January 2008 Discography: Opera (Häpna 2002) Milieu (Häpna 2003) Operette (Cubic music 2004) Grubbs, Ambarchi, Mathieu a.o remixing tracks from Opera. Mort Aux Vaches (Staalplaat 2005) Live recorded in Amsterdam. Rideau (Häpna 2005) Rideau (HEADZ 2005) Japan version w. a bonus track – remix by Minamo Tape & Minamo / Birds of a feather (HEADZ 2007) collaboration w. Minamo Tenniscoats / Tan-Tan Therapy (Häpna 2007) featuring Tape members Tape – Opera plus (Häpna 2008) forthcoming reissue w. 3 bonus tracks Tape – Milieu plus (Häpna 2008).
Hans Appelqvist
Albumdebuterade 2002 med Tonefilm, ett tämligen elektroniskt album som innehåller flera samplingar ur filmer och andra dialoger och monologer. Användandet av talade röster är genomgående i hela Appelqvists produktion. På EP:n Att möta verkligheten tonsatte han intervjuer med två flickor, en kinesisk kvinna och en tysk dam. På Bremort har han regisserat små radiodramatiska scener, EP:n Människornas ögon bygger på en uppläsning av Bo Bergman och på Naima hörs skådespelerskan Naima Wifstrands röst. Appelqvists intresse för Kina smittar även av sig i musiken i form av röster och andra inspelningar från landet.
Som vokalister på låtarna använder han ofta på ett mycket medvetet sätt amatörer, vilket ger ett sprött och bräckligt sound.
