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It lives! BY:LARM 13-16 FEBRUARY 2013 OSLO NORWAY EDITOR IN CHIEF Atle Richter Schie Copy chief Mats Silberg EDITOR INTERNATIONAL CONTRIBUTIONS Wyndham Wallace EDITORS ASSISTANT Helge Brekkke & Marte Sunde Härter Web editor Pia Biermann CONTRIBUTORS Text Alexander Svanberg Astri Barbala Audun Vinger Charlotte Todnem Hanne Christiansen Henrik Richter-Schie Inger Lise Hammerstrøm Ingrid Brubaker Ingrid Ødegård John Doran John Robb Madeleine Mellemstrand Marta Revheim Øystein Rasmussen Petter Dotterud Anthun Phil Hebblethwaite Sean Erik Scully Siren Løkaas Sondre Kveldsvik Askedalen Tina Johansen Wyndham Wallace
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The rumors of the death of music, to paraphrase Mark Twain, are greatly exaggerated.
o, music is alive and well, doing perfectly fine. Perhaps bands and artists aren’t becoming as obscenely rich as they used to. It’s been a while since an artist built a huge amusement park for his own personal use. But new bands seem to be thriving. Inspiration and an ever burgeoning number of communities of every conceivable music niche are readily available for anyone even remotely interested in checking them out. Community-oriented sites like Soundcloud, Urørt and others are carving out spaces where ideas can be tested and exchanged. New songs and genres spread globally through pockets of people interested in that particular form of expression that previously required massive amounts of postage to make happen. That’s a very good thing. What by:Larm shows, though, is that all the frantic activity online can actually find a physical manifestation in bands getting up on stages playing their songs in front of actual people standing next to each other watching the band play, thoroughly documenting everything with their phones and sending it right back to the Internet. In fact, the current change in the music industry is doing is emphasizing the live performance. Revenue streams are shifting away from record sales, while the live performance slice of the total money pie is growing bigger. We think that’s a good thing too. Because music is never as emotional, varied or nuanced as when it is performed live. The live performance can reveal frauds served up as true artists. And during an event like by:Larm has the potential to explode the Internet and create an instant following for an artist able to capture and harness the power of the crowd. The founding fathers of the United States warned of the power of the masses when drafting their constitution, placing Congress as a buffer to their shifting opinion. In the music industry, there is no need for a buffer. We want our artists right in front of us. We want to react to them instantly. We want live music.
Talking mostly (exclusively) about twins with Say Lou Lou and Broken Twin.
TWINS! TWINS! Text: Phil Hebblethwaite Photo: Hilde Holta-Lysell
ou’re a twin, too? asks Miranda Kilbey, one half of Say Lou Lou. – No, I’m not, replies Majke Voss Romme. – You’re a broken twin – you’ve lost the other twin, says Miranda. Majke laughs. – I guess so! We’re talking twins on Friday afternoon at Mono with two of the most promising acts on the by:Larm line-up – a Swedish synth pop duo comprised of twins (Miranda and Elektra, who used to be called Saint Lou Lou until a trademarking issue forced them to become Say Lou Lou) and a Danish singer-songwriter who makes gorgeous, piano-led music as Broken Twin. Other than one being a twin band and the other having the word ‘twin’ in their stage name, they have nothing in common at all, and actually that’s not much of a connection in the first place. But both acts are Scandinavian and they’re both extremely talented, so the twin angle will suffice this time around. To make things even more confusing though, I’m a twin, but my twin is of the
opposite sex and I’m not Scandinavian – I’m English and I don’t make music; I’m a journalist, and not a particularly talented one, as you can tell from reading this article. Stick with me, I’m trying here. – I just think it fitted the music, because there’s a kind of melancholy to it, says Majke when asked why she chose the name Broken Twin. I saw her play last night and although there is a sadness to her music, it’s also uplifting and she’s a deeply soulful singer. – Wait, you’re a twin? asks Elektra. I am indeed. – This is interesting. Our dad had another pair of twins. With a different woman. I tell them that my twin sister has twin boys, aged two. – My grandfather has twins! adds Majke and, all of a sudden, everyone is trying to work out whether twins are supposed to be genetically more likely to come from the male or female side of a family. – It’s supposed to come from the father’s side, says Miranda. – No! Mother’s side! Definitely the mother’s side.
So are there twins going back in your family, Say Lou Lou? – No, we were the first pair. A pregnant pause. There are plenty of bands that have twins in them, and there are a few acts that have the word ‘twin’ in them. I ask Majke whether she’s a fan of Aphex Twin, but I already know the answer. On her Facebook page, she once posted a solo piano track called “Avril 14” from his Drukqs album. – I am, actually, yes, says Majke, looking a bit surprised. – Twin Shadow! says Elektra, referring to the 4AD-signed Floridian solo artist. Do you like Twin Shadow, Say Lou Lou? In perfect unison: – We toured with him! Of course you did. What about Twin Sister? Have you ever heard Twin Sister, the New
York indie pop band that, er, doesn’t have twins in it, or even sisters? No one’s heard of Twin Sister. Onwards. Bands with actual twins in them… My top pick: The Breeders. Silence. Oh, come on! You don’t know The Breeders!? Kim Deal from the Pixies and her sister Kelley, although Kelley wasn’t always in the band… – Oh, yeah, yeah, yeah, says Miranda, and I’m not quite sure whether she actually knows them, or feels she ought to. – Jedwood! says Elektra. Excellent choice. How about The ShangriLas? Everyone nods in appreciation of the greatest girl group in history, who had the bonus of having identical twins in the band (Marge and Mary Ann Ganser) and two separate sis-
Your name is not down, you are not coming in text: Paul Beaumont
Bouncers, doormen, cunts in black, whatever you want to call the security staff in clubs they rarely receive kind words. The unsympathetic might view them as particularly ill-equipped to be the gate keepers of fun: they often seem to combine an unfortunate mixture of belligerence, stupidity and brute strength. Sometimes it might be tempting to wonder if they can spell their own job title. However, from personal experience, I would advise you to keep your wondering to yourself or do it from a safe distance.. Yet, I have come to conclude that assessment as somewhat unfair. Last night, I am somewhat ashamed to say, I attempted to swing influence using my delegate pass to jump the queue at Cross Roads club. A long line had grown in anticipation of Mikhael Paskalev, and they looked freezing and grumpy. I decided I didn’t fancy joining them, so I swanned up to the front and suggested my pass should permit me early entrance. I justified it by convincing myself that as a labourer in the festival operation, I should be entitled to special privileges. This didn’t wash with the men on the door.
They proceeded to politely and articulately explain how while they could understand my position, it would be unjust to allow me to walk straight in ahead of the freezing masses and would set a dangerous precedent. In sum he concluded, were this discrimination to become law, he could very well have a riot on his hands. Looking at the beardy, smartphone-wielding queue, I doubted the likelihood of this prophecy. A growing mumbling of discontent climaxing in a group scowl and a collective and forceful decision to just go home, would have seemed the more likely outcome. Nonetheless, touched by his eloquence and convinced by his logic, I decided to join the back of the queue. From here I witnessed several others wielding delegate passes trying to pull the same trick. Not precisely the same trick, some went for pleading, others for anger “Do you bloody well know who I am?!” sort of approach. Meanwhile, pretty girls drew up close to the doormen, whispering suggestively in their ears. I don’t know what they said but you can guess at the gist. Throughout the doormen remained implacable. They neither raised their voices nor did they ever succumb. With each failing quasi VIP my respect for them grew.
ters (Mary and Betty Weiss). You can’t really beat that. Okay, an obvious one: the Bee Gees. Are you fans? – I’m not sure we’re fans, says Miranda. – Everyone knows them. They’re just… the Bee Gees. But your sound is a bit disco-y, Say Lou Lou, and you’re not appreciators of the great songwriting talents of the brothers Gibb? – Yes, you could say we have disco elements in our music and we listen to a lot of disco, but I wouldn’t say the Bee Gees are in the top ten of our disco favourites. But they’re good. We like them. The conversation carries on. I mention others bands with twins in them, like The National (Majke’s a fan), Bros, The Cribs, These
New Puritans, Tegan And Sara, Biffy Clyro, Good Charlotte (“Yes! Of course!” says Elektra), The Proclaimers, Clap Your Hands Say Yeah, Icelands’ Múm… but suddenly Miranda stops me. – – We thought we had created a completely original concept! she screams. – YOU ARE RUINING EVERYTHING! YOU ARE CRUSHING OUR DREAMS! And with that, we’re done – before, you’ll be glad to hear, I’d broached the subject of Twins, the 1988 Hollywood comedic romp starring Arnold Schwarzenegger and Danny DeVito and, cough, its planned sequel, Triplets, in which Eddie Murphy is due to appear. Be thankful for small mercies.
By the time I reached the front (the old fashioned way), the doormen were on great terms with the queue. Each person that left was immediately followed by a person from the queue being admitted, prompting cheers from those waiting. Many of those who entered, made sure to shake the doormen’s hand. This is how a one in-one out policy is meant to work. I did in the end manage to catch the excellent latter half of Mikhael Paskalev set, but I would rather tell you about how I learnt to give doormen a break and why you should too.
NĂĽ har vi strĂ¸muttak ved alle setene om bord.
Cleaning up his act
What impressions will the delegates bring with them when they leave by:Larm? And what do they really think about Nordic music? Text: Marte Sunde Härter
Linus Bramford (23) Music Supervisor in Ohlogy Text: LEENA OLLIKAINEN
Photo: WARNER MUSIC FINLAND
– I have an impression of by:Larm as a platform to create successful links between different countries. And I really enjoy Nordic music. I think that there has been developed a typical Nordic sound during the last years – a sort of indie oriented unique sound, that really sets the standard for artists outside of the Nordic countries.
Iselin Grayston (24) Head of the volunteers at the Ranglerock festival
Finnish phenomenon Stig on love, R. Kelly and his different personalities.
egend has it, that everything changed for Stig when he wrote his first song while on break while at work cleaning the Helsinki underground system. One thing led to another and today Stig is spending his days wielding a microphone instead of a mop. – Judging by the Finnish album charts and the number of gigs you have been doing recently, you’re one of the most popular artists in your home country. How did all this happen? – It really kind of happened by accident. I wrote my first songs just to amuse friends, but suddenly found myself gigging and recording an album. After I attended the Finnish qualification for the Eurovision Song Contest things got even crazier. – What sound and style are you working on now? – With my next album we’ll continue with the “country rap” sound we developed for my last album, a delicate blend of country and rap. Live I’m also continuing to perform the older R’n’B influenced material. In the future I might take my music in an unexpected direction. You have to keep evolving, the world is an impatient place nowadays.
– Girls and love seem to be quite common themes in your songs. What influences your writing? – Girls and love. When I started I was greatly influenced by R’n’B artists like R. Kelly and Keith Sweat and their masculine and erotic lyrics. While the R’n’B sound is gone, it’s still in the lyrics. I kind of put on a different personality when I’m writing. In real life I’m kind of a shy guy. – This is your first time performing at by:Larm. What do you have planned for your show? – I’m performing with my stealth unit, It’s me and my DJ, backup singer and dancer DJPP. We’re just going to do our thing and have a good time. – What is your biggest achievement so far? – My three year old son, by far. In music: when you’re on stage and see people smiling, loosening up, letting it go and having a good time you feel like you’re doing something worthwhile. I mean for me, making one person happy or even a bit happier with my music feels like a great achievement.
– by:Larm has given me an insight in how the music industry works from the inside. I will bring with me the knowledge I have gained of what challenges the industry is facing. When it comes to Nordic music, I think it is diverse, but that it has something in common; it is down to earth. I mean that in a positive sense.
Cristoffer Hansson (27) A&R in SoFo Records – I think by:Larm has given me a great opportunity to meet the people within the music industry who I used to know only through e-mailing. I also think by:Larm is a good venue for Nordic artists to confirm that they are strong performers. I really think the Nordic music is fantastic.
Dagfinn Bach (57) R&D Director in Bach Technology – I think the Nordic music is very diverse. And I see by:Larm as the most important venue for the Nordic music industry to establish links across country borders.
Erik Fosland (41) Manager in AceTomato Management – When I leave by:Larm, I will bring with me inspiration. As simple as that. When it comes to the term “Nordic music”, I am not sure there is such a thing. But we can certainly sell Nordic music as an idea.
Foto: Pål Audestad
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– It’s pop music, really Text: Hanne Christiansen
Photo: Patrick Da Silva Sæther
If the last year has taught Mikhael Paskalev anything, it’s that success is best enjoyed chilled.
ast year’s by:Larm was an extremely big deal to me, Mikhael Paskalev says decisively. – I must have been the most nervous boy in Norway. Casually perched on a chair at his local hangout Mat & Mer at Bjølsen, Oslo, it looks as if those nerves have long since eased off. Just a day before the release of his debut album, and less than a week before he’s playing by:Larm for the second consecutive year, Paskalev radiates nothing but calm confidence. – I played so many gigs this past year that at some point I had to accept that the world doesn’t end if I mess up, he explains. Rustic charm A simple, somewhat rustic and intensely charming eatery, Mat & Mer aptly mirrors many of the same qualities that have created a following for Paskalev. Since his appearance at by:Larm last year, he has played at a host of summer festivals, released an EP and even managed to crack the auspicious viral code twice over, with the music videos for “I Spy” and “Jive Babe”. He might give off a no-fuss kind of charisma, but the quirky nostalgia and playful mischievousness that permeates his springy, infectious guitar pop shines through also in his personality. Rewind back to the fall of 2011, however, and few had heard of the LIPA music school graduate. – I was absolutely obsessed with the idea of playing at by:Larm, Paskalev recalls. – I even went home to Ålesund and locked myself in my bedroom for three days to work on a demo tape. That might have been his smartest move yet: A few months later, his picture was on the cover of by:Larm News and his debut single was on heavy rotation on national radio.
night show that families gather around the tv to watch while eating tacos, he says. – But for me, the size and focus of it all was just right. It gives you exposure to the right people. At the same time, though, you have to work hard to make it the stepping-stone it has the potential to be. Friendly debut The hard work has manifested itself in the full-length debut ‘What’s Life Without Losers’, born somewhere between a studio in Ålesund and a sports hall in Liverpool. Paskalev also enlisted the help of friends and fellow LIPA graduates Joe Wills, Jonas Alaska and by:Larm artist BillieVan, saying the album is ultimately a product of friendship. – I think we decided the sound could be described as something like bastardized soul mixed with old school rock & roll, he says. – It’s pop music, really.
Going international Four by:Larm performances and an album release doesn’t really fill Paskalevs calendar though. He is also nominated for the prestigious Statoil grant, which is awarded during by:Larm. The winner of the grant gets a million kroner to help facilitate international promotion. Asked how that would impact him, Paskalev throws his hands back and lets out a deep sigh. – I find it hard to talk about, he says with a careful smile, pulling the classic line: – I’m just really happy to be nominated. There’s no doubt that it could do unbelievably good things. The influential Paul Lester has put an international spotlight on Paskalev in the Guardian’s ‘New band of the day’ column, but the young Norwegian claims international success is not his main priority. Launched by by:Larm – I’m extremely grateful for every Being named Urørt of the year, Norwegian mention and opportunity, but it’s Radio P3’s annual search for undiscovered not something I’m actively chasing. musical talent, around the same time I’m taking it incredibly easy for now, didn’t hurt either. Last week he passed on he says. And then that mischievous the baton to rapper Phil T. Rich. Did he smile appears again. have a last-year’s-Miss-World moment? – Well, it definitely brought back some powerful memories, he laughs. Mikhael Paskalev plays Crossroad club on Friday He recognizes the Paskalev the impact at 01:30 and Rockefeller on Urørt and by:Larm has had on his career. Saturday at 00:30 – Urørt might not be the kind of Friday
What do by:Larms warmly dressed participants think is the advantage of arranging a winter festival? And who are they sharing their festival experiences with? Text and photo: Marte Sunde Härter
Ingrid Roan (25) Festival participant – Tough question! I guess one advantage is that the beer stays cool. To bad we are not allowed to drink beer outside. I am here at by:Larm with my boyfriend and a friend of ours. I am also meeting up with my girlfriends later.
Thor Haldorsen (35) Festival participant and delegate – It’s not as common to have festivals in the winter time as it is in the summer time. That probably means that the winter festivals have less competition and therefore more people visiting them. That’s a good thing. I’m here with my colleagues and friends.
Per Christian Holm (26) Festival participant and musician in the by:Larm band Man the Machetes – It’s a plus that the cold weather “forces” the festival participants to get inside for the concerts, instead of them being tempted to stay outside. Also, in the summer time, the audience often decide which concerts to watch on the basis of where there is sun and where there is shade. Now the cold weather makes it possible for the audience to visit the concerts only on the basis of which band is playing. I’m visiting the festival with my girlfriend, my friends and my band.
Pia Blindheim Lund (24) Festival participant – The advantage? I was just talking about how nice it would be if it was warmer. But I guess it’s a good thing that the festival doesn’t have as many competitors as the festivals in the summer time. The summer festivals always collide with each other. Now there is only one alternative. I’m here with my boyfriend and friends.
The Phantom (unknown) Spiritual being –During the depths of winter I struggle to find the will to leave my dwellings, except under extreme duress. It’s only the fear of starving that forces me from time to time to venture outside. It’s therefore very healthy for me that by:larm exists in winter, and manages to shatter my hibernation habits. It gives me hundreds of good reasons to make contact with the outside world and I am thankful for that. I go to concerts alone. I don’t like talking in winter.
Foto: Ole Jørgen Bratland
StatoiL og By:Larm PreSenterer konSert med
Jarle Bernhoft and friends
Sentrum Scene lørdag 16. februar Vi kårer også ny Statoil og By:Larm stipendvinner denne kvelden
Money to burn While Shining wants to revitalize the expression black gold if they win the Statoil grant, Ida Jenshus has a more sober attitude to the grant of a million kroner. Still, they both feel ready to conquer the international market. Text: Inger Lise Hammerstrøm
The nominees for this year’s grant are
or three years, Statoil and by:Larm has awarded a grant of 800.000 to an artist or a group that they believe deserve an extra push to reach an international audience. There’s always inflation, though, and this year, a million kroner is at stake. They have all been invited to play by:Larm, one of the conditions for being nominated. A jury of music industry people musical will then nominate ten candidates amongst artists who apply. After all, some of the artists may not be ready to make the leap a million kroner imply. Steady does it – The Statoil grant will mean a lot to us. We’ve managed to reach a level where we are doing well financially with concerts and festivals in Europe, as well as being on the verge of breaking through in the United States, says Jørgen Munkeby from grant nominee Shining. The band has steadily built up a global following, but lacks that last push. – One million kroner would help us to make a real impact in North America, not just in terms of promotion but also allowing us to tour for a longer period of time. This is something we’ve been looking forward to doing for a while, and now we feel the time is right, says Munkeby. Shining is getting ready to release One One One, the follow-up to the critically acclaimed and genre defining Blackjazz. – The interest for Blackjazz in USA is huge, and over time we’ve managed to build a really good network, says Munkeby.
Highasakite Mikhael Paskalev Shining Ida Jenshus Young Dreams Thomas Dybdahl Truls Blood Command Elephant 9 w/Reine Fiske Monica Heldal. For fellow nominee Ida Jenshus, a million kroner would be a pleasant bonus when launching internationally. Expenses like paying musicians, promoting tours and even something as mundane as room and board puts a strain on solo artists as well as bands. – Statoil grant or not, I will keep to my strategy. A grant will come as a pleasant surprise, she claims. Bullshit detector Jenshus has been part of the music industry for almost ten years, and has managed toto make a living as an artist. She’s noticed changes over those years in the music industry, though, and describes an ongoing revolution
where artists need a solid financial plan. – As record sales fall, we have to come up with other strategies. Although I’ve had the privilege of selling enough to get gold records for my first two albums, and is about to reach the same with my latest. My main source of income comes from tending the garden of my portfolio of songs and collecting royalties. Second is income from concerts and then the record sales. Shining has also been active for ten years now. Munkeby says they’ve developed a few coping mechanisms along the way. – Shining has become very good at getting the most out of the available resources. In particular, we have built a gritty bullshit
detector, which has served us well in many ways financially, but it has also helped to guide us through the many gorges of the music industry, Munkeby claims, promising to revitalize the term of black oil. – In our case, the black Norwegian gold from Statoil will help us establish and create a brand new sort of gold: It will help us establish and create Blackjazz as a new music genre worldwide. Although money can’t replace hard work and good music, we like to think that Shining has a long tradition with both.
KJØP BILLETT NÅ SLOTTSFJELL.NO
The Big Picture
How do you capture the essence By:larm? By photographing every single musician in one huge picture. text and photo: Alexander Svanberg
e are photographers, love portraits, and love big projects. Baard Henriksen steps around the jungle of flash units, soft boxes and white canvas. Per Sollemann looks up from his iMac which holds raw format of portraits they are currently working on. On their desktop a rough photo montage shows a row of people in black and white, smiling at whoever’s watching. They’ve been here since tuesday. When By:larm is over the duo might produce a picture the lenght of a football field, all portraits, all rock stars. A big project, indeed. Baard explains. – I went to By:larm for the very first time last year. Per showed me around, as he have been a regular since the very beginning. I was really impressed and wanted to be involved in a way. As I said, we are photographers and love portrait. This is the way we can contribute.
More and more bands pops in as the week progresses. Friday afternoon Bendik Giske, Kråkesølv and DJ Olle Abstract stepped into the duo’s ad hoc studio at Kulturkafeen by Youngstorget, only minutes apart. Mornings are slow, with workload increasing enormously after supper, Baard admits. – Rockstars don’t get up before noon, you know, he says with a smile. The hope of capturing every single musician is not the real issue at hand. For Per and Baard, the more the merrier goes, and they see this project as a success if only half of By:larm’s performers join their big picture. Per explains. – To us it doesn’t really matter if we capture only the known faces of the music industry. It’s the diversity of everyone playing here that excites us. That’s what By:larm is all about, anyway. New faces and established musicians coming together, on equal terms.
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Forsalg: www.rockefeller.no, Posten, Narvesen, 7-Eleven, tlf. 815 33 133. (FIN) NB! Bill.avg. 18 år leg.
Bill. kr. 225,-
Bill. kr. 175,-
HILDE MARIE KJERSEM
Bill. kr. 250,(US)
Lørdag 4. mai: Ons. 10.4:
Bill. kr. 200,-
Bill. kr. 150,-
HÄSTPOJKEN (S) Releasekonsert:
SUPERFAMILY ”All America” ute nå!
Bill. kr. 250,-. 18 år leg. Tirsdag 12. mars:
”Bye-bye Borderline” ute nå! Supp.: ELECTRO SPECTRE + THE OSCILLATORS
Bill. kr. 300,-. 18 år leg. Torsdag 4. april:
Bill. kr. 320,-. 18 år leg.
Bill. kr. 150,-
Bill. kr. 175,-
Lørdag 2. mars:
”Set the House on Fire” ute 8. mars!
Supp.: FARAO Bill. kr. 200,-. 18 år leg.
Bill. kr. 330,-. 18 år leg.
Lørdag 20. april:
Torsdag 9. mai: FROM THE LOWL ANDS
JOHN PRINE Releasekonsert:
Supp.: PATS ONE & INT
Bill. kr. 350,-. 18 år leg. Fredag 15. mars:
Bill. kr. 270,(US)
Bill. kr. 250,(DK)
Bill. kr. 150,-
SOLO TOUR 2013 Tirs. 4.6: Bill. kr. 175,Bill. kr. 320,-. 18Posten, år leg. www.billettservice.no. medpå band Forsalg Posten,Forsalg tlf. 815 på 33 133, Forsalg tlf. 815på 33 Posten, tlf. 815 Bill.avg. 33 133, kr 25,-. www.billettservice.no. OBS! Bill.avg. kr 25,-. OBS! Bill.avg. kr 25,-. Debutalbumet ute i133, mars! www.billettservice.no. Bill. OBS! kr. 300,-. 18 år leg. (US) “Under Radarn” ute nå!
Bill. kr. 300,-. 18 år leg.
Lørdag 6. april:
Onsdag 13. mars:
Bill. kr. 250,-. 18 år leg.
NB! Begr. antall bill. i salg.
Torsdag 25. april:
Søndag 12. mai:
20.2: PHILLIE 09.3: ELDKVARN 05.4: DUGG 06.4: RAMMSUND 24.4: LARKIN POE & THOM HELL 16.5: THE CARBURETORS
Forsalg på Posten, tlf. 815 33 133, www.billettservice.no. Forsalg på OBS! Posten, Bill.avg. kr 25,-. tlf. 815 33 133, www.billettse STEIN TORLEIF
BJELLA DANIEL NORGREN
”Life is Good” ute nå! Bill. kr. 450,-. 18 år leg i hovedsal. Fri alder på galleriet.
21.02 (RF): SLASH 21.02 (JD): LOCAL NATIVES 21.02 (SS): FIRST AID KIT HUSK OGSÅ: 22.02 (RF): BETH HART 18.03: STEVEN WILSON 06.03 (SS): MANOWAR Forsalg på Posten,Forsalg tlf. 815 på 33 133, Forsalg tlf. 815 på 33 133, tlf. OBS! 815 Bill.avg. 33 133, kr 25,-. www.billettservice.no. kr 25,-. 15.05 (SS): OBS!THE Bill.avg. 12.04: OBS! ELLIEBill.avg. GOULDING Bill. kr. 320,-. 18Posten, år leg. www.billettservice.no. KNIFE kr 25,-. Bill. kr. 300,-. 18 år leg. Bill. kr. 250,-. 18Posten, år leg. www.billettservice.no. Bill. kr. 270,-. 18 år leg. OBS! Bill.av OBS! Bill.avg. kr 25,-.
WENCHE MYHRE, MICHAEL KROHN, DISSIMILIS, OSLO ESS, ONKLP, REIDUN SÆTHER OG KATZENJAMMER
på tlf. 33 Forsalg påForsalg Posten,Forsalg tlf.Posten, 815 på 33 Posten, 133,815 www.billettservice.no. tlf.133, 815 www.billettservice.no. 33 133, www.billettservice.no. www.rockefeller.no, 7-Eleven, tlf. 815 33 133. Gruppebedriftssalg: kontakt firstname.lastname@example.org / tlf. 22 20 32 32. NB! Bill.avg. Forsalg påForsalg: Posten, tlf. 815 33Posten, 133,Narvesen, www.billettservice.no. OBS! og Bill.avg. kr 25,-. orsalg på Posten, Forsalg tlf. på Posten, 815 Forsalg 33 133, tlf. på Forsalg 815 Posten, www.billettservice.no. 33 133, på tlf.Forsalg Posten, 815 www.billettservice.no. 33 på 133, tlf. Forsalg Posten, 815 www.billettservice.no. OBS!33 Bill.avg. på 133, tlf. Forsalg Posten, kr815 25,-. www.billettservice.no. OBS! 33 Bill.avg. på Forsalg 133, tlf. Posten, kr 815 www.billettservice.no. 25,-. Forsalg OBS! 33 påtlf. Bill.avg. 133, Posten, 815 påkrwww.billettservic Posten, 25,-. OBS! 33tlf. 133, Bill.avg. 815 tlf. www.bi kr33 25,-. 815 OBS! 133 B Fullstendig program og info: www.rockefeller.no
Forsalg på Posten, tlf. 815 33 133, www.billettservice.no. Forsalg på OBS! Posten, Bill.avg. kr 25,-. tlf. 815 33 133, www.billettse
Sápmi Music Artist 2013 Previous Sapmi Music Artists:
Gusto Niko Valkeapää
Ádjagas Mánu Ravdji
Johan Sara jr. Transmission
Elin Kåven Frozen music
Årets Ung Artist 2013
Say Lou Lou(SE) Mono, 06:00 PM Perhaps it’s the grubby surroundings of Mono, but there’s something about Say Lou Lou tonight that confounds my expectations aroused by their “Maybe You” single for Kitsuné. Instead the dreamy synthpop of Elektra and Miranda Kilbey now seems close to perfecting the kind of grandiosity that ZTT would embrace. In fact, “Maybe You” is actually the least exciting track on offer tonight. Instead “Better In The Dark” dispels any idea that the two glamorous twins are mere pop puppets, while forthcoming single “Julian” flirts with rock via punishing drums before busting out its finest disco moves. This is pop dressed in chainmail rather than neon leggings. It is more a nightmare than a fantasy, but still potent and seductive. It may prove tempting to polish, and thus diminish their work in the studio, but the commercial appeal of these short, weighty tunes deserves better. As they round things off with “Skylights”, one’s lasting impression is that only a major label could fuck this up. By: Wyndham Wallace Photo: Patrick da Silva Sæther
NONONO(SE) Jaeger, 08:00 PM The Swedish trio Nonono! delivered a solid performance at Jaeger, despite only playing for about 15 minutes. The Swedish trio, who performed here last spring, play pop and dance electronica perfectly suited for the dark basement at Jaeger. Their melancholy melodies are filled with solid drumbeats and a balanced mix of samples, analogue guitar and live vocals. Nonono! consists of producer team Astma & Rocwell and singer-songwriter Stina Wäppling. Last night they all seemed especially excited to show off their material. Their single “Like the wind” will with no doubt stick with you long after hearing it. Unfortunately the vocals sometimes drown in all the other elements, but still her voice has a uniqueness that shines through. They bought their miniature set to a close with “Pumping Blood”, their next single and strong urban indie pop track with an almost too catchy whistling hook. Sadly four songs were all we got. By: Charlotte Todnem photo: Sjur Fredriksen
Bits Between Rockefeller Annex, 08:00 PM It was with a curious and open mind that a small crowd gathered to attend the first show of the evening on the stage at Rockefeller Annex. Those that did turn up though, were rewarded with a fist of proper hardcore. That´s a by:Larm treat: A couple of months later you can say to you friends that “Hell yeah! Saw them months ago”. To break a guitar-amp after just a couple of songs into the first concert of the night isn´t necessarily a bad thing. It just shows Bits Between are willing to go all-in for their crowd. Sadly, the night is too young to get the requested circle-pit. But when they throw in a healthy portion of incredible speedy thrash metal fueled hardcore that would have sent Kerry King into hibernation, you forget the crowd and focus on the stage. Definitely a band to look out for in the near future! By: Øystein Rasmussen photo: Marius Viken
Delay Trees(FI) Kulturkirken Jakob, 09:00 PM It’s very easy to picture Finland’s Delay Trees composing soundtracks to films about sad people who live in cold places that only get six hours of daylight during the winter and who have to fight their way through tons of snow just to get to the mailbox. Their sounds glide dreamily off the stage, sneak their way in between the audience and fills up the huge church room, though it is just as easy to picture the band right at home in a smaller and more intimate venue. Delay Trees’ songs tiptoe on the fine line between really pretty and really heartbreaking, and whoever labeled their music as cinematic pop hit that specific genre nail right on the head. As with other pretty things, however, the music does tend to get a bit boring after a while, but all in all Delay Trees delivers a perfectly respectable piece of dreamy pop this Friday night. By: Ingrid Brubaker photo: Jørgen Kvalsvik
Billie Van Sentrum Scene, 09:00 PM Her first single as a solo artist, On My Knees, came out February 1st. Having played with her best friends Michael Paskalev and Jonas Alaska for many years, she is now all on her own. Maybe this was a bit too soon. Even though she’s been writing songs for ten years, her live performance was not that of a seasoned live performer. Her music has been referred to as rockabilly, but most of her concert had a distinctly country aroma. I overheard a conversation about her: –Is it just me, or could this just as well be a new act at Seljord Country festival? –But then she would have danced better, his friend replied. She apparently had only one line-dance move, and the whole visual left something to be desired. It wasn`t all bad though: her vocals where strong, and her well picked band-members complimented her musical style. She seemed to become much more comfortable half-way in, livening up towards the end. Perhaps she is best considered as a work in progress, not yet the finished article. By: Siren Løkaas Photo: Isak Frøseth
Neneh Cherry &
Kulturkirken Jakob, 08:00 PM
Revolver, 08:30 PM
Mono, 08:00 PM
There is a certain Danish coolness about this eclectic act; laidback and with a sense of energetic calm. Cæcilie Trier is classically trained and has a background from other Danish bands, such as Choir of Young Believers, but her solo debut EP was released as recently as November 2012. She and her band of three filled Revolver with a sensual sound of percussive elements, blues guitar and synth arrangements that nods to the early 80s, perfectly accompanying Trier’s vocals. The sultry, atmospheric blues qualities of her voice really stand out beautifully. CTM’s show is very dynamic, shifting from mysterious calm to compelling energetic jam sessions, and this is where some of the most interesting musical moments are. The highlights of the show, ”Elsa Palma” and ”Variations”, stand out as perfect examples of such shifts.
Dance music has always been about endless possibilities and if, at first, a Swedish woman who goes by the name of Elliphant and toasts in Jamaican patois might raise an eyebrow, you only have to remember that authenticity never counted for shit in pop and if you discounted everything that wasn’t authentic, you’d be left with virtually nothing. Elliphant is a producer/MC called Ellinor Olovsdotter whose debut EP got the online dorkesphere on lock down last month and, if you want short-hand, you could say she’s something of a Scandinavian M.I.A. or Santigold, only she’s far more fun. At Mono tonight, her blend of dancehall, dubstep, bounce and hip hop causes a pint glass to dance off a table and smash. She begins one song with the following: – It’s the ketchup song! It’s the keaaaatchuppppp song! “Ciant Hear It” is an eccentric echo of the Beastie Boys’ “Ch-Check It Out” and a new track manages to mention cheese, fire and bitches. What’s not to like?
By: Ingrid Ødegård Photo: Marie Blom
By: Phil Hebbletwaite Photo: Henrik Kihlstrand
Kid Exodus is a band that makes people throw musical influences at them. Florence & the Machine, James Blake and Daft Punk is mentioned in the by:Larm program, and while this is not completely off, the mix Kid Exodus cooks up on stage is most of all the sound of themselves. The music competes with Peter Estdahl’s voice, and the show is definitely at its best when his voice is allowed to shine above a forest of chilly electronic beats and gritty drum beats. Too often the music drowns him out completely, though. The upbeat numbers of the show are respectable enough, but it’s doubtful the band would sound very exciting without Estdahl manning the vocal duties. That said, the four-piece band is musically very well coordinated. Their best songs are the ones where chilly electronic beats are mixed with sharp drums. It does however become somehow distracting how the bass player stylistically seems to be from a totally different kind of band, or even era.
By: Ingrid Brubaker photo: Jørgen Kvalsvik
Sentrum Scene, 08:00 PM I’m not saying I’m biased toward Neneh Cherry, but essentially I see humanity as being split into two camps: The righteous which recognize Buffalo Stance as one of the greatest achievements of Western civilisation, and the lost which have not yet had its epiphany. Nene Cherry delivered an astounding LP with free jazz trio The Thing last year, but tonight she teamed up with another left field band, and the project is so new that most of the material is culled from the Cherry Thing LP. However, that’s where the similarities end. Rocketnumbernine is an electronics and drums ensemble with close ties to Radiohead and Four Tet, who provide bleeps, bass and organic beats to MF DOOM’s “Accordion” and bend her own Cashback into new electro jazz fragments. The trio return a sublime “Dream Baby Dream” closer to its languid and anaesthetized original form by Suicide, but best tonight is new song “Mr. Bullshit”, painting a bright future for the trio. By: John Doran Photo: Jorunn Bakke Johannessen
Autolaser Stratos, 09:30 PM The Stratos stage is on the top floor of the old Oslo opera house. With windows on each side of the room, only the night sky is surrounding us, creating a special atmosphere. Autolaser starts playing his first song and it’s like he hits us all in the chest, telling us to wake up and enter his world. And it’s pretty clear he wants us all to dance and party with him, even though he doesn’t say a word and his face is covered with a white mask. He’s previously stated that he will not take off is mask in public. But Autolaser doesn’t need to talk or to show facial expressions. He uses his whole body to connect with the audience as he bounces around, pushing buttons on his machines making melodic electronic sounds with a good dash of dubstep. The audience is following him. Some are dancing and some are nodding as he plays a lot of new songs, many of which has voice samples of famous artists. Good thing he’s playing later tonight, too, because I wanna hear more of this.
By: Tina Johansen Photo: Jørgen Kvalsvik
House of Mystery
Mono, 09:00 PM
Rockefeller Annex, 09:00 PM
Gamla, 09:00 PM
Mono, 10:00 PM Since 2011, Blood Command has had a firm grip on their hometown audience. Hailing from Bergen, these guys know how to make “obnoxiously loud” work to their advantage. Silje Tombres vocal ass kicking is somewhere between androgynous smurf and witch from the deepest bowels of hell. The album Funeral Beach is their second release. With two equally strong albums in the last couple of years, their 30 minute concert on Friday was a joy for newcomers, like a “best of album” from your new favourite artist, but not nearly long enough for fans. The place, Mono, is a perfectly dark pit, nicely complimenting their animal performance, and the place was so packed with eager people that you could see the fear in the eyes of the security guards. We sweated along with the band, gyrated with Silje and tried (and failed) to equal the bands on-stage mosh pit. They rocked so hard that I might have inadvertently grown a tribal face tattoo from their energy on-stage.
Despite the deceitful name, Holograms gave absolutely no reason to doubt they were here at Mono this evening. And neither did the crowd. Mixing raw power and energy from punk, combined with synths and the dark, cavernous sounds from post-punk, the Swedes go even further, adding aggression and speed to their music. It all sounds better with a vocal resembling Iceage’s, who played at last year’s by:Larm. Clearly bands of this genre don’t hold extensive speeches during concerts. Holograms could, on the other hand, seeing this is their first time here, at least have dropped titles between some of the songs. Their eagerness and solos (even the base player’s strap broke) are however present during the whole concert, and the impression of Holograms is very good Lovers of Joy Division, Jay Reatard and Iceage, if you haven’t checked out Holograms’ self-titled debut yet, do so straight away. And for love of God, go to one of their gigs to get your ears destroyed.
The members of Stockholm based band Solen are ex-jazz musicians. They all got tired of playing jazz and ventured out into the world of alternative pop music. They have previously released two albums and one EP, with an upcoming album to be released very soon. The sound of the band is rooted in poetic post-punk, with a few references to Swedish indie pop; it is reminiscent of the more heavy and serious Håkan Hellström. The set at Rockefeller Annex started out slowly with a noisy tune, setting a somewhat dramatic tone. The second song pulled the band up from this slow start and drove the set into a more melodic feel, with a few catchy guitar riffs scattered here and there. Most of the songs evoked a feeling of vulnerability, which isn`t always easy to display in a sincere way. The last song was a straight up pop song that made it all end with a bitter sweet smile.
Even though House of Mystery’s concert isn’t exactly mysterious, it is certainly entertaining. Heavy bass lines which make the audience’s knees shake, controlled feedback from the lead guitarist, mixed with bongo drums and Indian howls from the singer, make this concert an enjoyable experience. At times it sounds like the band isn’t completely sure where to put their money genre-wise, and from song to song they seem to float from the psychedelic 70s to the danceable rock, as from the Libertines, in the late 90s. Perhaps their music can best be labeled as “Caribbean paranoia”, like their lead singer puts it. If the band got their name from the comic series by DC Comics remains unknown, but in a way their music sounds like the soundtrack of the comic. It’s entertaining, energetic and colorful, but at the same time it can hardly be described as ground breaking or revolutionary. By: Marta Revheim Photo: Sjur Fredriksen
By: Siren Løkaas photo: Marius Viken
By: Sean Erik Scully Photo: Glenruben Engen Larsen
By: Petter Dotterud Anthun Photo: Marie Blom
THE HivES kaizErS orcHESTra ulf lundEll wiTcHcrafT kvElErTak [SE]
kadavar nikkEby lufTHavn THE bon bonS blóT
billETTEr KJØpes på
eller på posten, narvesen og 7-eleven
daGSPaSS: 699,- HElGEPaSS: 1399,-
I DØra: Dagspass 775,- / Helgepass 1500,-
for flErE arTiSTEr oG mEr info SE
Bukta – Tromsø Open Air Festival er Nord-Norges største rockefestival. Festivalen ble arrangert første gang sommeren 2004 og er godt etablert som arena for lokale, nasjonale og internasjonale artister. Festivalen er i vekst og hadde i 2012 en omsetning på ca. 11 millioner og nærmere 15 000 besøkende. Neste års festival vil bli arrangert 18-20 juli 2013. For mer info: www.bukta.no
Vår festivalsjef skal gå over i ny stilling internt. Vi søker derfor ny
FESTIVALSJEF i 100 % stilling.
Festivalsjefen skal • Være festivalens øverste leder og ansikt utad • Lede festivalens medarbeidere og frivillige • Ha ansvar for festivalens markedsarbeid • Rapportere til festivalens styre
For å gjøre jobben trengs det • Gode lederegenskaper og forhandlingsevner • Resultat- og løsningsorientering • Innsikt i økonomistyring • Fleksibilitet; noe helg/kveldsarbeid og høy aktivitet rundt gjennomføringen av festivalen
Vår nye festivalsjef skal sikre at rockens uavhengighet ivaretas i arbeidet med festivalen. Det vil være en fordel med erfaring fra gjennomføring av store arrangementer. Vi tilbyr morsomme arbeidsoppgaver og et engasjerende arbeidsmiljø. Kontorsted er Tromsø. Tiltredelse og lønn etter avtale. Søknad med CV og referanser sendes til: Buktafestivalen, postboks 327, 9254 Tromsø eller e-post: email@example.com Søknadsfrist: onsdag 20. februar 2013 Henvendelser om stillingen rettes til: André Løvik (styreleder), mobil 915 22 728
Razika WiMP teltet, 08:30 PM There are quite a few bands who play together as teenagers, and eventually break up due to differences and other ventures. Ska-pop band Razika is an exception to this typical story. The four girls of Razika have known each other since childhood, and played as a band for quite a while. Most of the material performed during their show at the WIMP tent was from the new album, På Vei Hjem, released a few weeks ago. From the beginning of their playful set, they showed great confidence and proved how well trained musicians they are. After the first songs two wind musicians appeared on stage. This underlined their ska influence. Preferably this should have been present, but with their sincere tunes it didn’t really matter. The new material was undoubtedly irresistible and sincere. It seemed to satisfy the crowd, including a group of hardcore fans lined up in front of the stage. Even though the vocal harmonies weren’t always tuned, it’s enormously hard to dislike these charming Bergen girls. By: Petter Dotterud Anthun Photo: Patrick da Silva Sæther
Phantom(FI) John Dee - P3 Presents:, 09:00 PM With a big, black hood concealing his face, Phantom’s Tommi Koskinen hunches over a dome, pushing and pulling out dense layers of samples and effects from it with slow, stretched hand gestures. While the so-called UFO probably operates more like a performance prop than an actual instrument, it certainly adds to the eerie, mysterious atmosphere filling the stage at John Dee. With Hanna Toivonen, a very Florence Welch-looking figure, on vocals, Phantom floats in and out of a dark, rumbling soundscape to a backdrop of live, kinetic visuals. A lot of deep, reverberating bass and erratic, skittering drum patterns evoke memories of early dubstep (no Skrillex-effects, mind you). Although Toivonen is clearly an able vocalist, her performance at times sounds slightly forced, making the overall mood appear a tad contrived. A highlight, however, is “Scars” – a fragile, ethereal track that rightfully brings out a beautifully delicate timbre in Toivonen’s voice. By: Hanne Christiansen Photo: Isak Frøseth
Cross Road club, 10:30 PM
WiMP teltet, 09:30 PM
Vocalist Edvard Valberg is still a singing Norwegian copy of Happy Mondays dancer Bes in his moves. The spastic youngster shines in his blue overall and boyish charm. The bands’ regular uniforms of farmers wear and jerseys are in place. And that’s just how we like Honningbarna. Through the small half hour of stagetime at the Crossroad Club venue, the crowd gets a look on their new material of their upcoming album. And yes, it does work. The cellobow flies high in circles and the bass grooves like there’s no tomorrow. The crowd gets a proper lession in what the world needs to do. In the song “Fri Palestina”, the band put the aggression and musical quality behind their argument to their solution on the conflict in the MiddleEast, with both shouting and riffs hard to match. It is always enjoyable to behold politic raged punk. And when it is played by great musicians who do a perfect take on punk with groove, it makes you still believe the youth is able to save the world.
Kråkesølv have been around for a couple of by:Larms but, they had no problem proving their deserved their place on this year’s lineup. Their somewhat sugarsweet indie rock mixed in with dreamy riffs and slow thundering drums made a big impact in the Wimp tent on Thursday evening. With the trio up front sharing the vocals, it was up to new drummer Jørgen Smådal to cover the back. As a new edtition to Kråkesølv, he has made his mark on the music. His drumming puts a bit more punch into their songs. It sends you into dream of long wide hills and mountains overlooked by the northern lights. It is a pleasure to behold songs like “Sjalusien som driv dæ” in a cold tent venue that is not big jump in temperature from their home far up in northern Norway. Kråkesølv are charming between the songs: It´s all part of the gullible (in the good way) band that is Kråkesølv.
By: Øystein Rasmussen photo: Jorunn Bakke Johannessen
By: Øystein Rasmussen photo: Henrik Kihlstrand
Revolver, 10:30 PM
Revolver, 09:30 PM
There are a lot of things about Arlie Mucks that would make it so, so easy to hate them. They have floppy hair. They wear horn-rimmed glasses. They have boyish charm. They are annoyingly young. They get compared to The Smiths and Arctic Monkeys. They have a tambourine and they have really white teeth. The thing is, though, you still end up liking them. Arlie Mucks’ happy-go-lucky floppy poppy sound is the sort of music you would blast in your room while you hate your parents and wait for graduation and your real life to begin. The singer’s drawling vowels do really bring Alex Turner to mind, but that’s also where the similarity ends. Or, at least it stops being too obvious, which is good. The band’s sound is as distinctive as it is catchy, and the venue is packed. In addition to being really good musicians they seem genuinely and refreshingly happy to be on stage, a mood that quickly rubs off on the audience. The lot of us is all actually having a really awesome time.
Even though this is their first gig in Norway, the venue is packed when the five guys in Urban Cone enter the stage. The band open with their upbeat track “Searching For Silence”, what turnes out to be the opposite of what they give us. Indie tunes, disco inspired beats and electro rock poures from the speakers. With “Freak” – off their debut album Our Youth - Urban Cone serves some real feel good dance music, which quickly sends some thoughts to their fellow Swedes in Miike Snow. A more simple rock song follows, with the urban city sound all over it, before they play their latest single “Urban Photograph”. Its lyrics states: “I know you, you’ll be coming back for more”. And they are right. They still need to work a bit on their timing, but still a convincing performance from the Swedish band.
By: Ingrid Brubaker Photo: Sigbjørn Borud
By: Charlotte Todnem Photo: Patrick da Silva Sæther
Stig(FI) Gamla, 11:00 PM Wether he can be called a country rapper, an RnB artist or a comedian - Stig definitely knows how to make people dance. And regardless of how you would define his music, one thing is sure: Stig definitely represents something unique in the context of by:Larm. He and his side kick look like hillbillies who have watched too many hip hop music videos, and the sound of their performance is much the same. With banjos and harmonicas as background music to their Finnish rap, they create a feeling of being at a barn somewhere in the Finnish forrest together with a boom-blaster pumping 50 Cent or something of the like. A year ago he participated as the Finnish contribution in the Eurovision Song Contest, but as Stig puts it: “The Swedes fucked up that shit”. Regardless - Stig wins the hearts of a lot of Norwegians at Gamla. By: Marta Revheim Photo: Glenruben Engen Larsen
Philco Fiction Sentrum Scene, 10:00 PM Philco Fiction provides melodic tunes with dancy elements. Their set at Sentrum Scene starts out with a mellow and melodic pop tune, with vocalist Turid Alida Solberg dancing sensually around on stage. Her vocals are sweet and endearing, sweeping over the elegant tunes supplied by her fellow band members. Musically, Philco Fiction is rooted somewhere between Kate Bush, 80’s synth pop and Radiohead. After the first number, three dancers jump out out of nowhere and onto the stage to the song “Odd Future”, providing a dramatic and intense element to the song and really capturing the audience’s attention. This happens without overshadowing the strong content, though. The dancers disappeared as fast as they appeared, but Solberg and the rest of the band seems to manage just fine without the help of the extra dancers, carrying the rest of the set with great dignity and excitement. By: Petter Dotterud Anthun photo: Jorunn Bakke Johannessen
by:Larm på GAFFA.com
Foto: Sara Angelica Spilling
GAFFA.com kunne i 2012 by på over 300 konsertanmeldelser fra hele Norge, samt viktige konserter i utlandet. I februar kan du blant annet få full dekning av by:Larm, i form av anmeldelser, bilder, intervjuer og reportasjer.
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Red Bull Music Academy Night Oslo 14. februar kl 22.00
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Todd Terje Boska
Blå, Brenneriveien 9 • www.blaaoslo.no Inngang: 100kr/gratis med by:Larm delegatpass • www.redbullmusicacademy.com
Taken By Trees(se) WiMP Tent, 10:30 pm Amongst the cognoscenti, as I shall call the small circle of music journalists with whom I sometimes associate, Victoria Bergsman is something of a goddess, afforded the kind of reverence normally reserved for small furry kittens on Facebook or indie rock royalty like Mark E Smith. She can, it seems, do no wrong. Once the key member of The Concretes, and then the voice behind Peter, Bjorn and John’s massive “Young Folks”, Bergsman is clearly a smart woman: three albums and six years into her ‘solo’ career, she’s already experimented with the music of Pakistan (on her second collection, East Of Eden), and her latest, Other Worlds, found her inspired by a trip to Hawaii. She set out to combine her love of two particular songs: The Beach Boys’ ”Diamond Head” (from Friends) and Augustus Pablo’s ”AP Special”, and their influence is clearly heard throughout. They’re also obvious right from the start of tonight’s show, with heavy dub playing while
the band takes the stage, and pedal steel floating out across the room as they get underway. Bergsman’s voice is coy yet enthralling - as light as a lei, even - but her demeanour is somewhat reserved. She looks like she doesn’t really want to be on stage, but perhaps that’s because the music so effectively captures the holiday spirit – perhaps partially thanks to the sound of waves lapping on sand that provides an interlude between each song – that she’s simply wishing she was back on the beaches that inspired the record. The audience responds in kind: slightly disinterested, talkative and not entirely respectful. It’s a shame, because the records offer far more charm than this slightly lacklustre performance. There’s even a suspicion she might be under the weather: her voice seems uncharacteristically off key at times. For a moment I wonder if the wristband she’s wearing is in fact a sign she’s been recently discharged from hospital rather than attending the festival. Text: Wyndham Wallace Photo: Mats Johannesen
The band is immaculate however, the guitars sparkling, the drums rarely obtrusive, the whole thing as watertight as a Hokule’a. The blend of tropical island sounds, heavy bass and demure vocals is undoubtedly attractive, but it works better in the studio, it seems, than in a big tent. “I Want You” offers a relaxed vibe, a gentle reggae lilt bringing to mind golden sunsets and fruity cocktails, and her closing tune also provides a sense that, now she’s about to step off stage, she can relax a little. Ultimately, however, this seemed like a missed opportunity, or perhaps an argument that nothing can beat the pleasure of listening to an album, rather than standing in a venue drinking warm, expensive beer. Naturally, though, I bump into one of the aforementioned cognoscenti as I depart. He’s bewitched, it seems, and bewildered by my ambivalence. To some, it seems, Victoria Bergsman can still do no wrong.
Rockefeller Annex, 10:00 PM
Victoria - Nasjonal Jazzscene, 09:30 PM
Not to be confused with The Black Twig Pickers, Black Twigs is a Finnish, fuzzy jangle-pop band, with occasional hypnotic droning and rhythms with distorted tunes, which judging by today’s performance are capable of display a potpourri of the sound of the alternative 80’s. Despite the Black Twigs’ enthusiasm and cheerful jamming on stage, they suffered some technical difficulties halfway through, which the band humorously excused, saying «we are from the warm Finland, and the guitars aren’t accustomed to the cold weather here.» Many of the songs from their debut, Paper Trees (2012), were skillfully carried out on stage. The bass player’s ardor on stage, especially, I will never forget. The band’s overall performance wasn’t convincingly thrilling, though. The great drones and enchanting melodies, sung out partially in English, partially in their own native tongue, still gave the crowd bang for their buck tonight, and hopefully we’ll hear more from Black Twig soon.
Dream pop trio Postiljonen have been compared to The XX and M83, and the associations are well-founded, as these bands appear to be clear sources of inspiration. They are, however, disappointingly far from living up to the level of their references, both when it comes to the complexitiy of sound, the quality of songs and the performance. ”We Raise Our Hearts” is the only song that really stands out, but the sound is rather monotonous and flat. Slightly off-key vocals don’t help either. A saxophone player was brought in halfway through. He himself sounded good, but on top of the rest of the arrangement, the expression just felt overloaded. They definitely have something, though, and showed potential. By putting some more work into the songwriting and enhancing their sound, this band could have a bright future.
By: Sean Erik Scully Photo: Patrick da Silva Sæther
By: Ingrid Ødegård Photo: Sigbjørn Borud
Cockroach Agenda Rockefeller, 08:30 PM You know it. I know it. Cockroach Agenda certainly know it: Slayer is one of the greatest bands of all time. And as any fan knows, the early Haunting The Chapel and Hell Awaits period, is a 100 percent super, mega rad. In a way you can’t blame these kids - and I do mean kids, I’ld be surprised if any of them were actually born when Slayer was formed in the early 80s - for falling for those groovy breakdowns, insane solos, half grunted half shouted “evil” lyrics, always delivered with a half knowing grin. Compared to over rehearsed, self pitying, dumb rage filled, cookie cutter, shopping mall metalcore, early Slayer is pure art. And it’s not like they’re even being dishonest about being inspired and influenced by the San Francisco Bay Area thrash titans - they do a mean cover of Raining Blood after all. This band will learn this way before developing their own infernal sound. In the meantime, we have tracks like “Undying Sphere”.
By: John Doran Photo: Glenruben Engen Larsen
Rockefeller, 09:30 PM
Victoria - Nasjonal Jazzscene , 10:30 PM
- Are you thirsty? Do you want some flesh and blood?, Vithr screams at the audience which seems desperately afraid of answering incorrectly. Wearing torn up clothes, covered in what turns out to be pigs blood, the band looks like they’ve been passed through a shredder, emerging surprised on the other side. There’s an awkward silence hitting Rockefeller before Vithr decides to go mental on stage. But when the decision is made, and the singer launches into his first scream , the awkwardness is over. With spikes around their wrists, looking like Satan’s gladiators, you know you’re at a real black metal concert. They play loud, hard and fast, and we all wish we had been drinking some more before going to this gig. When Vithr is playing, everyone’s supposed to be standing in the front, spilling their beer and getting spit at. Probably good fun, but it’ll have to wait till next time.
An Icelandic youngster stood behind what was probably one of the most spectacular concerts tonight. The humble and somewhat shy singer, performs songs from his debut album Dyrd I Daudathogn, backed by no less than six other band members. A captured sitting audience is served a beautiful set, with one beautiful track followed by another. The sound is complex and full, and at one point four people are playing on different tangent instruments. Introducing some samples and more electronic elements after a few more quiet songs, make great artists as James Blake and Bon Iver come to mind. His lyrics are poetic, and when performed in Icelandic they seem even more mysterious and beautiful. After running from concert to concert, this is the perfect opportunity to lean back and take it all in. The band is incredibly tight, and Asgeir Trausti’s voice fills the room without any problems. He doesn’t say much, except a simple and honest “Thank you” between the songs.
By: Madeleine Mellemstrand Photo: Marius Viken
By: Charlotte Todnem Photo: Sjur Fredriksen
UNIKE TELTLØSNINGER FRA NORGES LEDENDE FESTIVALLEVERANDØR
Rockefeller, 10:00 PM
John Dee, 11:00 PM
It has felt recently like second wave Black Metal has come full circle from its roots, especially in Northern Europe. The tightly codified and insular scene which produced one of the most startlingly original and forward looking, extreme art forms of the last three decades. Inevitably there was a rupture between progressive and conservative elements. At the conservative end of the scale, we find Nidingr. Playing music from their latest album Greatest Of Deceivers, they combine thrash leads, galloping blackened drum clatter, a raw throated howl. It’s as close as traditional black metal gets to good time party music, meaning this is great to chug beer, thrash your head and throw the horns in the air to. Honourable aims every one. But Black Metal was always arty and pretentious. Mayhem’s first ever recording featured avant classical synthesizers played by a member of Tangerine Dream! Tonight I can’t help but think of Mayhem’s Oslo show exactly a year ago when they almost tore a portal in the fabric of space time. Tonight by comparison is good fun.
Kaveh is a natural-born performer. From the first moment on, he delivers heartfelt intensity supported by raw beats and elaborate, arena-style hip-hop production. There are certain cheesy elements to this 18-year old’s style, but his flow is unarguably impressive – effectively helping him to transcend any linguistic limits attached to rapping in Norwegian while creating music with a strong universal, even global, appeal. This is highly energetic, dance-laden hip-hop with as much emphasis on grandiose production as on crafty beats or technical skills, and ultimately, it becomes an entertaining affair oozing of showmanship. At one point Kaveh even attempts a stage dive, albeit to no overwhelming effect. He redeems himself, though, by jokingly exclaiming that it will go down as the worst one in history. That, in fact, is his main strength: An unpretentious, humorous performance that goes down incredibly well with a bouncing, screaming audience.
By: John Doran photo: Henrik Kihlstrand
By: Hanne Christiansen photo: Isak Frøseth
Mona & Maria - My Sun
Atlanter - Vidde
cd/lp/digitalt 19. april
cd/lp/digitalt 15. mars
Tider på by:larm: Torsdag 22:00 Sentrum Scene & Lørdag 22:00 Gamla
Tider på by:larm: Torsdag 21:30 Herr Nilsen & Lørdag 01:30 Crossroad
ANNA VON (SE) HAUSSWOLFF WiMP Annex, 8:00 PM
f you’ve not heard Sweden’s Anna von Hausswolff’s second album, Ceremony, then you’ve not heard one of the more extraordinary records released in Scandinavia in recent years. Instead of the formalist song constructions of her debut, Singing From The Grave, it breaks most standard contemporary musical conventions, beginning with five minutes of little more than a church organ recorded in Gothenburg’s vast Annedal Church. Both this track, “Epitaph Of Theodor”, and the one that follows, “Deathbed”, are spinechilling, tomb-like, grand statements that emphasise that von Hausswollf has pretty much rejected the standard singer songwriter stylings normally expected of pretty Nordic blondes. “Deathbed”, in particular, sounds like Godspeed You Black Emperor jamming with Diamanda Galas while Sunn O)))’s Stephen O’Malley conducts an orchestra of Glenn Branca clones. This is serious art, as academic as that sounds, composed
rather than constructed, something with all the complexity of classical music at its most dramatic. Nominated for this year’s Nordic Music Prize, von Hausswolff was always going to be an outsider – she is, in many ways, the polar opposite of fellow Swedes and victors First Aid Kit, you might say – but an outsider is clearly what she wants to be. Ceremony is a daring, bold record that opens doors into dark tombs and a world of horror, but it finds within a shocking, monumental beauty. It’s uncomfortable, therefore, to find her performing in a small tent. It seems, frankly, thoroughly inappropriate for someone who makes a sound so huge. But though she’s a diminutive, almost gothic figure, all robed in black, she’s dwarfed by her voice and the colossal sound her band conjures up, and any shortcomings with the choice of venue are soon forgotten. Instead it’s impossible not to find oneself mentally wandering empty
industrial wastelands and blasted heaths to a soundtrack that sounds this ancient, almost spiritual. She warns this will be a short, intense performance, and she’s right: there are few breaks between songs, few opportunities to catch one’s breath, and Lord knows this is breathtaking stuff. Though she’s obviously not brought that church organ with her, she has the keys to mimic its sound, and “Epitaph Of Theodor” sounds almost as overwhelming live as on record. And that’s before she’s even opened her mouth. She shifts next into a cover of Jeff Alexander’s “Come Wander With Me”, drones, cymbal splashes and operatic shrieks defacing and defiling the original’s folksy atmosphere. Instead she transforms it into something with black metal’s intensity and the inspired freedom of improvised jazz, but performed at a funereal pace, crescendoing towards howls of noise amid fierce strobe
text: WYNDHAM WALLACE Photo: Mats Johannesen
Festivalsesongen er i gang! Scann koden og se hva som finnes av festivaler i 2013. Billettene bestiller du på Billettservice.no
lights. In comparison, “Mountains Crave” could be Kylie Minogue, but there’s still an unstoppable intensity driving the song forward (though a rather aimless guitar solo proves to be an unnecessary distraction, perhaps the show’s only misjudgement). She switches to acoustic guitar for “Liturgy of Light”, her voice adopting a more rustic intonation, allowing her to briefly let slip a smile, albeit a slightly devilish one. But as her set comes to a premature end with the less than cheerfully titled “Funeral For My Future Children”, she transforms herself into something witchlike, hammering her keyboard, shrieking like a demented sorcerer, her shoulders shaking, her face hidden behind a veil of hair. A final flurry of tribal drum rhythms – the kit hit so hard it seems likely to collapse beneath the force of the blows – provides a suitably devastating climax, and then she’s gone in a pall of smoke. The ceremony is over for the moment. Now let the worship begin.
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Talkin’ about the high decibel revolution blues. Or something … Text: john RobB
ne of the constants of music conferences are scene veterans in conversation, talking about their complex musical histories with their anecdotes and deep love of rock ‘n’ roll and its attendant culture still intact. This can be a good thing. by:Larm had a great triple whammy of music talk that within two hours covered many decades and angles. It was going to have to be good: yesterday, Van Dyke Parks, arguably one of the real geniuses behind The Beach Boys and a key architect of the sixties, regaled a packed house with tales of creative madness and the dreaded LSD, as well as how to create musical standards. Today offered back to back talks from very different perspectives, with Patti Smith confidante Lenny Kaye, the musical encyclopedia, and the queen of Noo Yawk hipster kool Kim Gordon reminding us that the days of dinosaur male dominated rock culture are coming to an end. First up was BBC Radio DJ Stuart Maconie, whose likeable comfy cardigan presenting style means he gets away with playing some great music on BBC 6 Music, with probably the best stuff you can get to hear on the station, presented with a cutting and knowledgeable enthusiasm. In an entertaining hour he talked about the shadow of John Peel, getting to see The Beatles when he was two years old, and how he was one of the many people to come up with the term Britpop, along with your author. I bump into the great Lenny Kaye just before his talk across the road and it’s pure rock ‘n’ roll gold. With an empowering enthusiasm
for all music that has never left him, he’s full of entertaining anecdotes and wisdom. Talking about musical genres from Black Metal to Bing Crosby, Lenny was honey warm and dripping with knowledge on the holy stuff. – I was taking LSD and seeing God in the sixties. Music led the culture in the sixties, he smiled, catching the frontier decade in a couple of sentences before musing on the great Norwegian black metal scene and how it would be great to release it on a Nuggets style series. He ended by giving an insider guide to the groundbreaking Patti Smith Group before bigging up Bing Crosby. Down the road, former Sonic Youth member Kim Gordon is showing a series of slides and film clips, talking about Sonic Youth, noise, art and women in rock ‘n’ roll. – Women make more natural anarchists, she drawls truthfully as she tells it straight with charm. Kim points out that rock ‘n’ roll is great because men can get feminine on stage, but conversely she loves, and is fascinated by, the male bonding of men in bands. Interestingly, she didn’t like being in an all girl band, but that band was with Lydia Lunch and Julie Cafritz, who, she points out, – talks grosser than any man I’ve been in a band with. There is a really fab clip of the great Bikini Kill with Kathleen Hanna sounding like the late and great Poly Styrene with soundtracks by her band’s superbly primitive punk rock. Kim points out with a laugh that girl power came from Bikini Kill and not The Spice Girls, and that ‘da sisters’ were not always fighting on the same side, Courtney Love
once punching the great Kathleen Hanna. Summing up rock ‘n’ roll, she laid it out in one killer line that live concerts are – where people pay to see people believe in themselves. So let’s go and get empowered! Anna Von Hausswolff is less dark and melancholic than her recordings suggest, but is still captivating with her imaginative music that hints at the Gothic fringe and even Kate Bush, but easily carves out a sound of its own with its captivating originality. Cockkroach Agenda play a malevolent thrash metal with lots of hair and Flying V action, Razika are all girl ska pop who have hit the big time in Norway, while Gudrid Hansdottir is kinda Fleetwood Mac harmonies and a Faroe folk twist. With some additional instrumentation, her voice is beautiful. Blood Command are driven by some great screaming vocals from their athletic frontwoman driving their hardcore tinged rock ‘n’ roll to an illogical conclusion. Thea And The Wild is hypnotic with her eccentric and kooky brilliance, and the Ndingr supergroup deconstruct the dark end of metal with a piledriving intensity. The evening is three hours in, and typically of by:Larm the music has been stunning in its diversity. I now have to leave you to get lost in the strange and provocative world of Gahl, the singer from the about-to-hit-the-stage God Seed, and end with the free jazz metal of The Shining, who were so stunning last time that we still talk about them in hushed and reverential terms.
Photography by Richard Ashton
Turkish Delight NAUSTET
Kulturkirken Jacob Cross Road club Sunkissed @ BLÅ
P3 presents: :00 Ekkolodd(N)
:00 Winhill/ Losehill(S) :00 Nils Bech(N)
:30 Bendik Giske
:00 Mona & Maria(N)
GAFFA presents: :00 Altmodisch(D)
Bugge presents: :30 Amina Sewali(N)
:30 Cockroach :30 Black Twig(FI) Agenda(N) :00 Aslak Hartberg´s :00 Frøy Aagre The Fuzz(N) Electric(N) :30 Honningbarna(N) :30 Altaar(N)
:30 Ludvig Moon(N)
:30 Anja Kløve(N)
:30 Ich Bin Nintendo(N) :00 Valgeir Sigurðsson(I)
Rockefeller Annex Herr Nilsen
:30 Kid Astray(N)
:00 Man the Machetes(N)
P3 presents: :00 Synne Sanden(N)
:30 Statoilstipendet feat. Bernhoft & Friends in concert(N)
:00 Delay Trees(F)
:30 Urban Cone(S)
:00 Dagens Ungdom(N) :30 French Films(F)
:30 Bugge presents: Isabel Sörling Farvel(S/N) GAFFA presents: :00 Karin Park(N)
:00 GAFFA presents: Boska(N)
:30 Anna von Hausswolff(N)
:00 Eva & Manu(F)
18.00: Morten Mykelbust(N)
Last Train Nasjonal Jazzscene VICTORIA Jaeger
:30 Tusmørke(N) 00:10: Ost & Kjex with Nils Bech & Anne Lise Frøkedahl(N)
:30 Malvin Nøsen & The Company(N) :30 Postiljonen(SE)
:30 Mikhael Paskalev(N) :00 Vithr(N)
P3 presents: :00 Phil.T.Rich(N)
:00 Philco Fiction(N)
:00 Tako Lako(D)
23:00–03:00: ENO presents: Strangefruit 23:00–03:00: Bjørn Torske DJ set
:30 Ida Jenshus solo(N) :30 Bow To Each Other(N) :00 Taken By Trees(S) :30 Lay Low(IS) 23:20: Control Voltage Khomeini(N) 23:50: Vinny Villbass(dj)
P3 presents: :00 Intertwine(N)
:00 Say Lou Lou(S)
GAFFA presents: :00 Alina Devecerski(S) :00 Guðrið Hansdóttir(FÆ) :30 Emile The Duke(N) :00 Adam Kanyama(S) :30 Disaster In The Universe(N) :00 Stig(F)
:00 Sweden(N) Bugge presents: :30 Mopti(N)
Live schedule Saturday 16th
:00 Neneh Cherry & RocketNumberNine(S) 01:30 Atlanter(N) 01:00: Alexander Skanche(N) 01:40: g-HA & Olanskii(dj) 02:30: Finnebassen
P3 presents: 01:00 Bits Between(N)
01:30 MØ(D) 02:30 Autolaser(N) 01:00 The Switch(N) 02:00 Fela(N) 01:00 Honningbarna(N)
01:30 AACT Raiser
01:00 Lucky Lips(N)
Changes might occur. Check bylarm.no for updates.
Published on Feb 16, 2013
by:Larm is Scandinavia’s largest music conference. by:Larm News is a daily festival newspaper, which every year covers all aspects of by:Lar...