Tag Archives: hamburg

Live: MS Dockville 2016, Hamburg (DE)

Zum zehnten Jubiläum legte das MS Dockville sich ganz besonders ins Zeug: ein Line-Up, das in der Spitze wie in der Breite zu überzeugen wusste, ein wie immer atemberaubend schönes Gelände und die entspannte, ausgelassene Stimmung machten 2016 zu einem der besten Dockville-Jahre in letzter Zeit.

Die Acts: Von den zehn Ausgaben seit 2007 war ich bei ganzen sieben; zuletzt war es aber immer wieder das mangelhafte Line-Up bei stetig steigendem Ticketpreis, das mich von einem Besuch absehen ließ. Dieses Jahr war das Dockville ein Festival der positiven Überraschungen: Gab das Line-Up bei einem vorherigen Hördurchgang nicht viel her außer bereits bekannten Favoriten wie Foals, Bilderbuch (die ich aufgrund des Timetables nicht sehen konnte) oder Unknown Mortal Orchestra, erwiesen sich die großen Lücken in meinem Zeitplan letztlich als Segen: Acts wie Faber, Isolation Berlin oder Die Nerven gaben einen hervorragenden “Zeitvertreib” ab. Dadurch verzieh ich auch das Booking gruseliger Formatradio-Verbrechen wie Matt Corby, Frances oder der furchtbar unlustigen Klaas-Heufer-Umlauf-Band Gloria.

geländeDie Besucher: Das Dockville-Publikum ist durchschittlich etwa 20 Jahre alt, trägt genderunabhängig Blumen im Haar und Glitzer im Gesicht, sowie in 80% der Fälle einen Turnbeutel mit witzigem Spruch der Wahl auf dem Rücken. Außerdem ist es äußerst ingenieurstechnisch begabt, wenn es darum geht, ein einzigartiges Erkennungs-Maskottchen zu erschaffen, das an einem hohen Stab über der Crowd geschwenkt wird, um die eigene Freundesgruppe zusammenzuführen (Highlight: ein seifenblasenspuckender Affenkopf mit LED-Augen). Als Wahlberlinerin fiel mir zudem auf, dass alle Hinweisschilder etc. am Gelände auf Deutsch gehalten sind: Das Dockville ist trotz weiterhin steigender Bekanntheit anscheinend immer noch ein lokales Ereignis.

Die Politik: Die Hamburger AFD legte jüngst Beschwerde bei der Kulturbehörde ein, wieso man ein Festival finanziell unterstütze, bei dem angeblich linksradikale Bands wie Slime oder Feine Sahne Fischfilet auftreten würden. Als Reaktion wurde ein riesiges “Fuck AFD”-Plakat am Gelände aufgehängt. Junge Teenager, die aussahen wie die Unschuld in Person, trugen “Niemand muss Bulle sein”-Beutel oder schwenkten Antifa-Flaggen bei den Auftritten von bekennenden linken Acts wie Sookee oder eben Feine Sahne. Auch weniger explizit politische Bands machten den Mund auf; etwa Faber in seinem Besorgte-Bürger-Song Wer nicht schwimmen kann, der taucht oder Isolation Berlin, die eine Textzeile zu “Er schnauzt mich von der Seite an, ob ich nicht stolz sei auf dieses Land” änderten. Ausschreitungen, Aggressionen und sonstiges Arschlochverhalten waren meiner Erfahrung nach vollkommen abwesend vom Festival.

Galerie

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Live: Carnival Youth in Hamburg (DE), 10.05.2016

When people think of the country of Latvia and music together, Eurovision is probably one of the first thing that comes to their minds. But times are changing and right now indie-fourpiece Carnival Youth is one of the hottest exports from Riga. They are so hot that they have just recently won the EBBA (European Border Breakers Award) Public Choice Award. This led to them touring through Europe this May and stopping at the Knust in Hamburg on May 10th.

Before the show started we had the chance to sit down with the band (or well, ¾ of them since their bassist was sick and sleeping off his illness) and eat some self-made “Fischbrötchen” (a local dish consisting of a salmon in a bread roll). The (identical) twins Emīls and Edgars and their bandmate Roberts were down-to-earth and friendly boys who definitely impressed us with their German skills. Our conversation mostly revolved about typical German or Latvian things, tour life, professional golfing and music festivals. After good 45 minutes the band went on a quest to find a post box for their postcards and we got ready to catch the support act.

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Perry O’Parson alias Marcel Gein (©A. Hachmeister)

The opening act was Perry O’Parson (or as he is known under his real name Marcel Gein) and he serenaded the crowd with heartfelt acoustic folk music. It was pleasant to listen to him and his guitar but what made most of his performance where the stories he told between the songs. The singer-songwriter performed mostly songs in English but for the last two he switched to German lyrics.

When Carnival Youth took the stage thirty minutes later the crowd (probably 80% female…) edged closer to he stage. The set up was rather unusual as the band stood in a half circle so that every member, even the drummer, could be seen. This formation fits their music best as Roberts, Emīls and Edgars all share singing duties and all four members and their respective instruments come across as equal in their songs. Carnival Youth don’t have a frontman in the traditional sense – instead they have three, the drummer, the guitarist and the keyboarder. This opened up their musical style and made the concert even more interesting.

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The half-cirlcle (© A. Hachmeister)

Due to his sickness bassist Aleksis had to play while sitting on a chair fort he whole gig. As his bandmates explained he was completely drugged with antibiotics. We have to give the band credit for not letting this affect their performance in any way.

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Melodica Fun! (©A. Hachmeister)

The setlist consisted of songs from their two albums (released in 2015 and 2016) and sprinkled with “hits”. Already the first bunch of songs got the crowd dancing along. Among them were two of my favourite songs from the first album, Brown Eyes And All The Rest and Octopus. For the latter the disco ball was turned on and the sparkly reflections illuminated the venue, perfectly fitting the keyboard melody.

In between songs the band entertained the crowd with German phrases such as “Mein Lieblingsessen ist Kartoffeln mit Fleisch” and “Mögt ihr Tanzen?” or their general goofy behaviour on stage. They left the crowd with their single Never Have Enough, which was accompanied by a beautiful sing-along from the crowd before they returned to the stage to play Sometimes as an encore.

All in all it was a wonderful concert where everything fit together perfectly. Paired with the energy of a live concert and their friendliness, Carnival Youth’s already brilliant songs get even better. I would totally recommend going to their upcoming concerts or investing money in one of their records.

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Tour & Verlosung: Bled White

Erst Romy, Audrey und jetzt Greta – man könnte fast behaupten, BLED WHITE verfolge ein Muster bei der Benennung seiner Platten. Nicht nur mit der Wahl der Namenspatinnen schwelgt er in der Vergangenheit; von Nostalgie geprägt ist auch die Musik selbst, die der in Berlin lebende Solokünstler in DIY-Manier mit analogen Instrumenten einspielt. Mehr als nur ein Hauch 80er-Wave, sowie ordentlich Melancholie und Herzblut befeuern die vier Tracks seiner am 22. Januar erscheinenden neuen EP Greta. Mögen die Melodien auch reiner Pop sein, die Arrangements sind dennoch versponnen und spannend genug, auch Fans von Abwegigem zu gefallen.

 

 

Wer sich auch live in die Soundwelten von Bled White entführen lassen möchte, sollte sich seine Deutschlandkonzerte im Januar und Februar vormerken. Für einen Termin eurer Wahl verlosen wir 1×2 Gästelistenplätze! Schreibt bis spätestens 20. Januar eine Mail an indiependance(at)hotmail(dot)com mit eurem vollen Namen und eurer Wunschstadt und ihr landet im Lostopf!

Hier die vollen Daten:

22.01.2016 Berlin – Privatclub
23.01.2016 Hamburg – Astra Stube
24.01.2016 Bremen – Café Erlesenes (Acoustic Show)
27.01.2016 Köln – MTC
28.01.2016 Karlsruhe – Fettschmelze
29.01.2016 Augsburg – Hallo Werner
31.01.2016 Regensburg – Heimat
02.02.2016 Mainz – Schon Schön
04.02.2016 Heidelberg – Karlstorbahnhof

Wir wünschen allen Teilnehmenden viel Glück!

Live: Everything Everything + Inner Tongue in Hamburg (DE), 29.11.2015

A British band that have recently released a top 10 album with two hit singles, have played Glastonbury and Jools Holland and fill big venues in their motherland? Surely they would play a bigger venue than Hamburg’s small cult club Molotow! Well, not in the case of Manchester’s finest Everything Everything, who brought sweaty dance moves to the 300 people in the sold out venue with their futuristic electro-pop.

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(© S. Prahl)

Their support, too, was quite the entertaining act. Inner Tongue from Vienna captured the crowd with their dreamy and spacey electronic vibes, steady drumbeat and the thin voice of their frontman. Every song took you to a different dimension. The five-piece were so ecstatic and lost in their own music on stage that you didn’t really know where to look because so much was happening at the same time.

Also worth mentioning: the band had so much equipment and instruments that the stage was completely full and the band members had troubles getting on and off stage and to their respective instruments.

Everything Everything had a much cleaner stage plot. The quartet brought an extra keyboard and effects player who, let’s be honest here, had the time of his life on stage and danced harder than anyone in the crowd. The rest of the band were also in a good mood, welcoming the small and intimate feeling at the club as a nice alternative to the big arenas they fill in the UK. Especially singer and guitarist Jonathen Higgs was more talkative than I had expected and even cracked a joke about the weather. All in all the band really seemed to be enjoying what they were doing and that’s the best thing an audience can get (apart from all their favourite songs getting played, of course).

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(© S. Prahl)

Everything Everything played a set that didn’t leave you bored or your feet still for a second. Not only their hits like Regret, Kemosabe, Cough Cough or Spring Sun Winter Dread got the crowd going.

And not only the crowd but also the band themselves seemed to enjoy the concert in the small club. You would often catch them grinning at each other or making funny faces.

For the encore the band treated their fans with No Reptiles and the smash hit from their latest release, Distant Past. It was only shortly after that the four Manchester boys came out to hang with fans at the merch stand. It was nice to see that the band’s new rise to indie stardom hasn’t gotten to their heads.

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(© S. Prahl)

Tour & Verlosung: Shilpa Ray

Shilpa Rays aktuelles Album Last Year’s Savage zu hören, ist in etwa so, als würde man Zeuge einer Geisterbeschwörung in Form von melancholischen Seemannsliedern – nur um dann in einem unerwarteten Moment mit Punk- und Country-Einflüssen ordentlich durchgeschaukelt zu werden. Mit ihrem unheimlichen Düster-Folk und geballtem stimmlichen Charisma zog die Künstlerin aus New Jersey niemand geringeren als Nick Cave in ihren Bann, der Shilpa mit auf Tour nahm und ihre EP It’s All Self Fellatio, Shilpa Ray auf seinem Bad Seed Label herausbrachte. Überhaupt ist die halbe New Yorker Musikerszene der Sängerin bereits verfallen – höchste Zeit, dass sie auch in Deutschland den Geheimtipp-Status loswird. Im November kommt Shilpa Ray für drei Termine auf Tour, um ihre Magie auch live zu verbreiten. Reinhören könnt ihr unten im Video, wir verlosen 1 x 2 Tickets für eine Show eurer Wahl. Schickt eine E-Mail mit dem Betreff “Shilpa Ray” an indiependance (at) hotmail (dot) com und nennt uns euren vollen Namen sowie eure gewünschte Stadt von den folgenden Terminen:

03.11.2015 Köln – Blue Shell
04.11.2015 Hamburg – Jazz Café
06.11.2015 Berlin – Maschinenhaus.

Viel Glück! Die Teilnahme ist bis einschließlich 30.10.2015 möglich. Wie es war, könnt ihr wie immer hinterher hier auf indie pen dance nachlesen.

LIVE: The Vaccines in Hamburg (DE), 09.10.2015

The Vaccines and Hamburg are not an easy combination. The band had to cancel their appearance at Hurricane Festival two years in a row before they debuted there in 2013. This year they also showed up at the festival and additionally played a headline tour in Germany to support their third album “English Grafitti”, which had come out earlier this year.

But before the quartet could take the stage at the swish Mojo Club on Reeperbahn, their support band Kid Wave tried to warm up the crowd. The four-piece from London needed a few songs before the crowd was feeling their music. After that there was nodding along and swinging from one feet to the other to their dreamy indie-pop with some rougher elements. What dinstinguishes this young female-fronted band from similar bands is the combination of the prominent bass guitar and the upbeat and precise drumming of their drummer, who seemed to enjoy herself the most of the band.

Kid Wave are too big to all fit in one picture ( © A. Hachmeister)
Kid Wave are too big to all fit in one picture (© A. Hachmeister)

Even though the concert didn’t sell out it got quite cramped in the basement club when The Vaccines opened their set with their first single from the new album. The crowd happily danced and sang along to Handsome and weren’t given a second to breathe as the band raced through Wreckin’ Bar (Ra Ra Ra), Ghost Town and Dream Lover. All during the set, Justin Young gave proof of his frontman qualities as he put a lot of emotion and exaggeration in his facial expressions and body language.

The Vaccines were everything I had expected (© A.Hachmeister)
The Vaccines were everything I had expected (© A.Hachmeister)

The concert was basically everything you would expect from a really good concert. The band played all their many hits, such as Post Break-Up Sex, Teenage Icon, If you wanna, I always knew,  as well as a good bunch of new ones from English Grafitti,  communicated with the crowd, did a special acoustic version of No Hope and pleased the crowd with a three song encore finishing with Norgaard. Especially for this song some fans had prepared a banner saying “Are you ready, Freddie” which Justin Young threw over guitarist Freddie Cowan during the last song.

All in all it was an entirely satisfactory concert experience.

On tour: The Bohicas

Aufmerksamen Lesern dürfte der Name The Bohicas bereits etwas sagen: 2014 machten die vier Londoner mit ihrer sensationellen selbstbetitelten EP auf sich aufmerksam und lieferten beim Hamburger Reeperbahn Festival tanzbarste Gitarrenmucke ab. Seit ein paar Wochen ist nun das Debütalbum The Making Of zu haben (erschienen bei Domino Records, dem Label, das auch schon die Arctic Monkeys und Franz Ferdinand groß herausbrachte). Hierauf zeigen die Bohicas, dass bisher veröffentlichte Kracher wie XXX und Swarm keine Einzelfälle waren: Auch die jüngsten Hits Where You At und das spätestens ab dem 2. Mal mitsingbare To Die For sind wieder Indie-Hits erster Klasse. Größtenteils ist das ganze auch stilecht rotzig präsentiert, mit ein paar etwas zu glatt geratenen Ausrutschern hier und da (Girlfriend) und einem durchaus gelungenen Ausflug ins 60s-Lager (Only You). Die Hitdichte kann sich auf jeden Fall sehen lassen und die kreischenden Gitarren und Singalong-Refrains beweisen endlich mal wieder, dass Rock’n’Roll keineswegs tot ist und immer noch mächtig Spaß machen kann.

Im Oktober könnt ihr die Bohicas bei folgenden Gelegenheiten live sehen – oder natürlich hier bei uns nachlesen, wie es war:

29.10. Hamburg – Molotow
30.10. Berlin – Kantine am Berghain

On tour: A Place To Bury Strangers

The New York based trio are famous for their unique variation of shoegaze, space rock, psych, wave, noise and post-punk music that creates a heavy atmospheric thunderstorm of sounds during their live performances. Well, being a part of A Place To Bury Strangers is also quite a risky job. Ackermann (guitar/vocals), Lunadon (bass guitar) and Gonzalez (drums) prefer to play in dark and foggy venues. So that’s why being smashed against the face by one’s own bass or guitar is not an unusual experience during concerts, claims Lunadon, the bassist of APTBS. Well, he should know it best since he had this incident once. ‘You can palpably feel the danger in the music,’ he claims, adding, ‘Like it’s going to fall apart at any moment and the players doing it are so in the moment they don’t give a shit about anything else. They’re just going for it (…).’

The band was originally formed by David Goffan and Tim Gregorio in 2002. Some time later the nowadays primary songwriter, guitarist and vocalist, Oliver Ackermann, joined the project after leaving his previous group, Skywave. APTBS went through many changes in the beginning of their existing. The band members were about to ‘come and go’. After releasing three different EPs in 2006 the trio recorded their first LP one year later. The vocals on this one are very suppressed and haunting in the manner of The KVB and Screen Vinyl Image. The whole impression that this production causes while being played is of a noise-thunderstorm though some moments of quiet are present too with songs such as ‘The Falling Sun’. Supporting gigs of bands like The Brian Jonestown Massacre or The Jesus and Mary Chain were the next success of the newly established band.

                        (One of the goodies from the self-titled first release)

Publishing ‘Exploding Head’ in 2009 the band remained true to their style of noise shower sounds adding some more catchy songs like ‘I Lived My Life to Stand in the Shadow of Your Heart’ to the repertoire. The next long player ‘Worship’ (2012) was mixed in a slightly different way. The vocals were more dominant and clearer than on the previous ones. Some Black Rebel Motorcycle Club influence was definitely visible too. Coming to the latest release of theirs, ‘Transfixiation’ (2015), you can find all of the previous variations of their style on this most recent one. There are songs like ‘I will die’ that totally sound like from the first record but also some like ‘Deeper’ that have this ‘The Brian Jonestown Massacre’ – touch in them.

 (Female vocals meets the noisy version of The Fresh & Onlys)

These guys are currently on tour, so take the chance to see & feel this intense post-rock-shower experience. The last German date is on the 27th of April in Hamburg.

Live: Captain Casanova in Hamburg (DE), 19.04.2015

Last weekend, we had the honour to present our first concert with Indie Pen Dance! We had the lovely Captain Casanova playing at little Komet Bar just off the bright lights of Reeperbahn. And since a picture is worth a 100 words, we’ll leave you with the highlights in photo format…

(all pictures © S. Prahl)

Live: SoKo in Hamburg (DE), 20.03.2015

Do you ever go to a concert without any expectations? Not necessarily in a bad way, just… no expectations whatsoever. The night is a blank white page. Whatever happens, you will not see it coming.

Spread legs, not lies (© S. Prahl)

That’s how Yours Truly enters Molotow Club on a chilly Friday night, in the exact moment Parasite Single start. Tonight, they’re the support act for singer SoKo, who plays only two German dates on her European tour, this one in Hamburg. Experimental electronic beats sound from the drum computer and MacBook, but they didn’t miss to bring a guitar, too. The Hamburg-based band is excited to play and is lucky enough to look onto a packed club by the end of their set. The gig apparently sold out in the course of the evening, and I’m ready to leave right after the first three songs I’m allowed to photograph tonight – I need to be up at 6 AM on the next day.

"I can't find vegan burgers to eat here. So I'm gonna eat vegan… something else." (whispered:) "Pussyyyy." – SoKo, everyone. (© S. Prahl)
“I can’t find vegan burgers to eat here. So I’m gonna eat vegan… something else.” (whispered:) “Pussyyyy.” – SoKo, everyone. (© S. Prahl)

SoKo is actually a Polish-Russian-Italian-French lady born and raised in France named Stéphanie Sokolinski. Back when her debut album was released, she sported a hippie look with a long brown mane. As you do. Now, with her new album “My Dreams Dictate My Reality” out, along with her soft guitar sounds, the hair is gone. She’s become gradually more ‘white goth’, as she says herself – taking the stage with a dirty black-rooted blond bob, old leather jacket and red eyeshadow. And she’s so ready for this. SoKo has brought along her four-piece backup band – two guys and two gals, including her brother Max. They race through newbies like “Ocean Of Tears” and “My Precious”. In between songs, SoKo ponders on the lack of vegan burgers, legal weed in Amsterdam, and simply changes the setlist the way she wants to. Four girls have the honour to be asked to come on stage for “I Thought I Was An Alien” and animate the crowd to dance from up there – which they do, very gracefully. It is decided that an alien’s best name would be Jake.

Hair Envy: Max Sokolinski (© S. Prahl)
Hair Envy: Max Sokolinski (© S. Prahl)

This is just one of the unpredictable things SoKo likes to do on stage – before “Bad Poetry” she’d like someone to come on stage and recite poetry, later she lifts her shirt and informs us that her view on feminism is that ‘everybody should show their tits’ … when nobody but one girl volunteers to free themselves of their tops and bras and dance onstage half naked, she’s severely disappointed in the Hamburg crowd. Are we especially conservative? Who knows. Not really.

By now you might have noticed that I have, indeed, not left after the first three songs. There is no way I would miss the rest of this set just for a couple hours more sleep.

After a fun dance party for “Who Wears The Pants” (including the splits behind the synths – no biggie!) and multiple shared kisses with her bandmates, for “Lovetrap”, the singer introduces us to a virtual version of Ariel Pink – phrases recorded by the L.A.-based musician on different buttons on her drum computer. It’s maybe the most experimental duet I’ve ever witnessed.

As fun as the night starts, as melancholic it ends. SoKo’s songs get gradually slower, sadder and more quiet. During “For Marlon” she even interrupts herself and tells the bartenders collecting empty bottles to ‘shut the fuck up’. For another song, she asks her dear friend Ryan Karazija from Low Roar to come on stage and sing a song with her – their voices perfectly in harmony, and the whole room as quiet as it could possibly be.

Some dancing aliens called Jake (© S. Prahl)
Some dancing aliens called Jake (© S. Prahl)

It’s not getting any better after the encore: “Nervous Breakdown” is a short intermission with SoKo herself on the drums, while for “Keaton’s Song”, a beautiful track dedicated to fellow singer/songwriter Keaton Henson that wonderfully channels Henson’s own melancholic melodies, the bass is exchanged for a contrabass. As if we weren’t in love with the whole band enough already.

If I’d had any expectations, they would definitely have been exceeded. And for an experience like this, I happily give up part of my sleep. My last words of wisdom: Even if SoKo plays at 2 AM on a Sunday at any festival, if you’re there, go watch. You will not be disappointed.