#Casper Clausen

[sweetdreamsjeff]

TIMELESS GRACE

By: Noel Mengel

Date: Sept. 5, 2015

The exquisite music of Tim and Jeff Buckley is being honoured, writes Noel Mengel

Tim Buckley died in 1975, of a heroin overdose. He was 28. The US singer-songwriter had started young, releasing his self-titled debut album in 1966, before he was 20. He left behind nine studio albums - and an eight-year-old son he barely knew.

In 1991, that son, Jeff Buckley, still pondering how to get a start in a music career, accepted an invitation to take part in a tribute show to Tim Buckley in Brooklyn.

He had no desire to start a career on the back of his father's reputation but, as he would explain later, it bothered him that he hadn't even gone to his dad's funeral. He wanted to pay his respects.

One of the people in the concert was guitarist Gary Lucas, who established his reputation in Captain Beefheart's band and was a Tim Buckley fan in his youth.

"When I heard what Jeff was capable of, it was jaw-dropping," Lucas recalls. "I said to him, 'Jeff, you are a star.' He was very modest: 'I am? Really?' At that point he was retiring, maybe he lacked a little confidence. I thought it was my job to instil more confidence, to mentor him." The tribute show and Jeff's performance were a success, and Buckley soon started making a name for himself playing shows around New York.

Meanwhile, Lucas wound up with a day job for a record company but his "soul was crying out" so he returned to music and released a number of well-received solo albums during the '90s. Then Jeff Buckley offered to be his singer. "That concentrated my mind wonderfully," he says.

In a week, Lucas finished two instrumental pieces and showed them to Buckley. They became Mojo Pin and Grace, key tracks on Buckley's debut solo album, Grace.

"He just knew what to do and where to place his voice," Lucas recalls. "I could hand him these very dense instrumentals that just sounded right to me and he would elevate them to something that was beyond our individual efforts." Buckley started working with Lucas's band Gods And Monsters, but soon left to pursue his solo career.

Grace, the only album he released in his lifetime, came out in 1994. Acceptance was slow in his own country but overseas, especially in Australia, the album took off.

Then, just as he was about to start work on a new album in Memphis in 1997, he went swimming in the Mississippi River, fully clothed, and disappeared. He was 30. His body was found a week later. An autopsy revealed no sign of drugs or alcohol.

Musicians who loved his music have never forgotten its power. Steve Kilbey recalls sitting backstage at a gig when he first heard Grace playing through the PA system out front. "It was when I was touring with (Church guitarist) Marty Willson-Piper," he says. "We both went, 'What is this?' and sent someone to find out. I was immediately taken. I thought it was one of the best voices I had ever heard." Jeff Buckley's presence and tragic death loomed large in the circles Martha Wainwright moved in during the late 1990s.

"Young men wanted to be him and women wanted to be with him. That was the vibe that I found," she says. "Even though he was very gracious about his talents and his abilities, he was a born star." The music of father and son is different. The connecting point is the quality of their soaring, mercurial voices.

"There was an otherworldliness there in both of them, something mystical," Wainwright says. "Though they barely knew each other, you can't deny the fact they are the same blood." Kilbey and Wainwright are among the musicians Lucas has assembled to recapture the magic of Tim and Jeff Buckley's songs. Others include Casper Clausen (of Efterklang), Willy Mason, Camille O'Sullivan and Cold Specks, with Lucas as musical director backed by his band Gods And Monsters.

* A State Of Grace, The Music Of Tim & Jeff Buckley, Enmore Theatre, 118-132 Enmore Rd, Enmore; September 27, 7.30pm, $78-$138, enmoretheatre.com.au

From: Daily Telegraph (Sydney, New South Wales, Australia)

[samplingsofsam]

Pinterest 'Feelings' (DC) from Sam Pilling on Vimeo.

Situation-ship or relationship? Putting your feelings on the table can be daunting. But with Pinterest, it’s possible.

Why are inappropriate questions about women’s relationships socially acceptable?

Back in January we shot a couple of intimate films for Pinterest with an amazing cast and crew. Glad we can finally share the DCs!

Starring: Feelings: @jessamine-Bliss Bell

Reunion: @ReneeBailey_, @chrisedadams, @MelissaSaintt, @Isiguzo_, @handollit, @Marossita, @JackwParr, @NathanDArcyRoberts, @Meg.Birley, @_Alleox, @LaynaSheppard

Feelings: Senior Creatives: Ash Hamilton & Sara Sutherland @ash_hammo @huzzahsarah

Agency: @uncommon Creative Directors: Sam Olivier & Nils Leonard Creatives: Thea Foge Toft-Clausen and Cecilia Mervig @theafoge @ceciliamervig Agency producer: @jessie Gammell Managing Director: @jsorton Head of Production: @Chris Harrison DP: @kaspertuxen Production Design: @robinbrown Producer: @neilandrews Production Managers: @ellie @benburdock PA: @michelle cheung 1st AD: @JulianRichards 2nd AD: Casper Campbell Casting: @Coralie Rose Wardrobe: @Rebecca Rich H&MU: Jojo Copeland Locations: @alvlok Key Grip: Johnny Donne Gaffer: Jono Yates Edit: @elyse @trim Feelings edit: @paul_oreilly_edit VFX: @carlnorton @themill VFX Producer: Matt Squires Colour: @simonbourne @company3 Colour Producer: Chris Anthony Sound: @samashwell @750mph Music Composition: Twenty Below Music

[headlinerportugal]

gnration Open Day: 10 anos celebrados com Panda Bear, Sonic Boom e Bandua | Reportagem

Apesar de não achar o cartaz tão apelativo como em edições anteriores, eis que resolvi assistir ao gnration Open Day e à celebração dos 10 anos ocorrida no passado sábado, 29 de abril. Para mim, foi a quarta vez que marquei presença, todas consecutivas.

Fui mais uma vez, principalmente, por causa da programação musical, como tem sido tradicional. Convém frisar que este dia contempla outras vertentes como instalações artísticas, visitas orientadas ou atividades para os mais jovens.

Tal como Ricardo Rio (presidente do município de Braga) sublinhou publicamente este gnration é um “equipamento cultural de referência que cada vez mais tem uma oferta cultural distintiva e complementar a outros espaços culturais da cidade.”.

Efetivamente essa é a sua maior mais-valia, um espaço que permitiu aos bracarenses, e não só, terem tido a possibilidade de assistir nos últimos 10 anos a concertos de artistas como Weyes Blood, Circuit Des Yeux, Casper Clausen, Cass McCombs, Raincoats ou Acid Mothers Temple. Dos portugueses referir nomes como Mão Morta, The Legendary Tigerman, Homem em Catarse, Black Bombaim ou Pluto. Ao longo de 10 anos já é longa a lista de presenças, algo que a organização fez questão de projetar no ecrã vídeo situado no palco exterior.

Quando cheguei ao gnration, muito bem acompanhado pela minha namorada, passavam poucos minutos das 16:30h e já tinha findado a atuação de Inês Malheiro. Esta artista bracarense, tinha ficado com o slot das 16h, o de abertura da programação musical. Foi altura propícia para dar um giro pelas instalações presentes nas diversas salas do edifício enquanto não se iniciava o concerto seguinte. Não sendo leigo na matéria, direi apenas que vi instalações mais apelativas em anos transatos…

‘ODE ao gnration!’ durante a tarde  // © Hugo Sousa - gnration A ‘ODE ao gnration!’ apresentou-se ao vivo, a partir das 17h, com alunos do Conservatório de Música Calouste Gulbenkian sendo que este ensemble foi dirigido por Ece Canlı, artista turca radicada em Portugal.Nesta sua quinta edição a Orquestra de Dispositivos Eletrónicos apresentou uma performance um pouco arrastada inicialmente já que durou bastantes minutos, esta parte eletrónica foi até algo maçadora. Quando foi lugar para os músicos tocarem os seus mais variados instrumentos, a atuação alavancou e animou. Deu para escutar um som demarcado e inspirado no médio oriente (não é de estranhar tendo em conta o “dedo” de Ece) tendo sido coadjuvado por elementos eletrónicos. Algumas das passagens musicais foram bem agradáveis.

A tarde ia tranquila com uma adesão de público menor em comparação a edições anteriores. O tempo estava relativamente quente pese embora algo abafado. Céu encoberto sem ameaçar chuva, sendo que, a climatologia variou um pouco durante o dia e a noite.

Serge Fritz na apresentação de 'Gandulo'  // © Hugo Sousa - gnration Sérgio Freitas, músico e pianista de Braga, apresentou-se com o seu projeto Serge Fritz para o encerramento do período da tarde. Ele aproveitou esta ocasião, perante uma blackbox muito bem preenchida, para tocar temas do seu primeiro disco a solo ‘Gandulo’ editado em 2022. Ainda com o 25 de abril fresco na memória, o suporte do teclado de Serge Fritz, exibia cravos. Para mim foi mesmo uma liberdade ouvir os seus temas, não os conhecia, e fiquei com muita boa impressão sonora. Certamente irei investigar e escutar melhor esta sua obra de debute.

A parte principal da programação musical chegou a partir das 22h no palco Praça situado no exterior. O período noturno teve, mais uma vez, uma enchente. Primeiro atuaram os Bandua, dupla formada pelo covilhanense Edgar Valente e pelo luso-brasileiro Bernando d'Addario. Notou-se muita gente curiosa com bastante interesse pela sua performance.

Pela primeira vez os Bandua tocaram em Braga, já tinham estado perto em Caldelas no Vira Pop em 20222. Edgar afirmou ser “um prazer estar finalmente em Braga”. Começaram com o tema “Borboleta Branca” e do seu álbum de estreia tocam também, por exemplo, “Ceifa”. Outra canção que não faltou foi “Bandeiras”. Foi com este tema que concorreram ao Festival da Canção. Boa parte do seu set contemplou a performance de novos temas.

Bandua na Praça // © Hugo Sousa - gnration Eles recorrem à chamada a eletrónica downtempo para um ritmo mais pausado. Inspiraram-se no folk e sonoridades tradicionais do interior, nomeadamente da Beira Baixa. Este projeto é uma lufada de ar fresco no panorama nacional.

Não fiquei propriamente fã, é certo. Apesar disso reconheço a sua diferenciação e valia. Pude comprovar no passado sábado em Braga que há muita gente a apreciar este duo Bandua.

Arsenal Mikebe são um trio de africanos oriundos do Uganda. Tocaram na Blackbox e não fiquei nada impressionado. Eles apresentaram um som bastante pesado, alicerçado em três instrumentos de percussão e nas suas vozes. Ao fim de 20 minutos de atuação desisti depois de uma sequência (quase) ininterrupta e furiosa de percussão e vocalizações berrantes.

Panda Bear em palco  // © Hugo Sousa - gnration O que realmente mais me interessava era a performance de Panda Bear & Sonic Boom. A partir da meia-noite vi mais uma atuação da qual desfrutei. Eles que tiveram perante si uma praça muito bem preenchida sem estar totalmente lotada. Além do excelente desempenho vocal de Noah Lennox existiu igualmente um excelente nível no acompanhamento por parte de Peter Kember. Ambos manipularam instrumentos e cantaram. Estes dois músicos juntaram-se tendo editado em 2022 o álbum colaborativo ‘Reset’. Um incrível trabalho cuja apresentação ao vivo em Braga foi coroada de êxito. Não foram de muitas palavras, dedicaram-se de forma concentrada a tocar os seus temas. Eles que foram acompanhados por um ecrã com animações durante todo o show.

Sonic Boom em palco  // © Hugo Sousa - gnration Começaram o concerto com "Getting to the point" e seguiram-se outras de‘Reset’ como, por exemplo, "Edge of the Edge" (uma das mais divertidas de escutar), "Whirlpool", "Livin' in the After" ou "Everything's Been Leading to This". Esta última foi tocada antes do encore. Nesse encore optaram por tocar músicas dos seus próprios projetos.

Em certas zonas da Praça o concerto não captou totalmente a atenção de algumas pessoas até final da atuação, tal era o alto volume da conversa… Foi pena pois essas pessoas não desfrutaram em toda a plenitude da boa performance de Panda Bear & Sonic Boom.

Perspetiva do palco Praça  // © Hugo Sousa - gnration A noite encerrou com Candy Diaz na sala multiusos e De Shuurman na blackbox.

Resta dar os parabéns ao gnration pelos seus incríveis 10 anos de atividade e desejar que venham muitos mais com toda esta vitalidade que tem sido, efetivamente demonstrada desde que começou a dinamizar a vida cultural bracarense e minhota deste modo tão diferenciada.

Agradeço a cedência das fotos por parte do gnration em particular ao Ilídio Marques. Mais fotos podem ser visualizadas nas redes sociais do gnration.

A enchente da noite em Panda Bear & Sonic Boom   // © Hugo Sousa - gnration Texto: Edgar Silva Fotografia: © Hugo Sousa - gnration

[the-playlist]

Gordi - Broke Scene

Small Black - Desert of the Heart

Unknown Mortal Orchestra - Meshuggah

Casper Clausen - Used To Think

Julia Marcell - The Odds

[half-a-tiger]

CASPER CLAUSEN - “Ocean Wave” from the album ‘Better Way’ out now via City Slang, co-rpoduced and mixed by Sonic Boom.

Video by Sebastião Braga

Assistant editor: Vera Braga

[nofatclips]

Life Is Dangerous by Liima from the album 1982 - Directed by: Hugo Jouxtel

[richurds]

Spotify wrapped #69 pls

Not even a funny meme song or anything :/

[yorkcalling]

Discovery: Jeremy Black

Jeremy Black is an electronic pop artist from California, USA now based out of Berlin. Today marks the release of his debut EP The Times along with its title-track single. Continue reading

[musicaemdx]

Casa do Capitão retoma programação artística e cultural a partir do dia 19 de maio

Casa do Capitão retoma programação artística e cultural a partir do dia 19 de maio

O futuro espaço de programação cultural no Hub Criativo do Beato reabre ao público pela segunda vez em formato pop-up. A programação cultural pluridisciplinar e para todas as idades da Casa do Capitão e do seu terraço começa já no dia 19 de maio e prolonga-se até outubro. Após uma primeira iniciativa pop-up ocorrida nos meses de agosto, setembro e outubro do ano passado, a Casa do Capitão retoma…

[houseatthefootofthemountain]

Signposts

A service from Hatfm highlighting new music that may have passed you by....

Casper Clausen – Better Way (Drag City January 2020)

For a musician who usually takes a studious approach to making records, Casper Clausen’s new album ‘Better Way’ (available via City Slang from January 9th) could almost be seen as a rush release. As one of the core members of Efterklang, the Danish experimental pop explorers, he was last heard just over a year ago on the band’s stripped back alt. rock gem ‘Altid Sammen’ and now, a mere 15 months on, comes his first solo effort.  

Unsurprisingly for such a meticulous songwriter, ‘Better Way’ bears no resemblance to a hastily assembled effort stitched together during the lockdown void. Conceived between band tours (remember them) and then refined over time in his studio in the Portuguese city of Almada, Clausen’s new record shines with an intent to dazzle and make a lasting impression. It maintains the experimental edge and devotion to lush soundscapes associated with Efterklang music but ‘Better Way’ leans more towards layered electronica and more elusive structures. It’s a direction that comes from Casper’s collaboration with Sonic Boom of Spacemen 3, who mixed and co-produced the album, a more fluid approach that he says was ‘trying to capture an intuition rather than a fully composed song’.

The album’s hurtling opener ‘Used to Think’ snatches up that license to stretch out immediately. Driven by a ticking krautrock rhythm, staccato synths and pitched vocal samples, it’s a track that lifts off to a place where a reformed Spizz Energi meets a cantering LCD Soundsystem. Clausen’s voice is as immaculately pitched as ever, low and yearning for starters then leaping nimbly to those top notes for the A-ha powered finale. Motoring along for over 8 minutes Casper acknowledges the song’s nod to the sprawling mechanic beats of Spacemen 3’s ‘Big City’ but here he takes that template and injects  it with some sure footed pop zip.

That same anthemic danceability steers the album’s penultimate cut, the future facing ‘8 Bit Human’. Here the pumping electronic rhythms criss-cross with other percussive flavours to give the song a bounce as agile as the best Hot Chip but with a juddering post punk bass underbelly. After a serious psychedelic breakdown in the middle section, all reversed sounds and dislocated voices. ‘8 Bit Human’ stutters back to its feet before sprinting  to a close in swirl of chanted phrases and rising intensity for a hallmark Sonic Boom/Spacemen 3 crescendo.

Clausen describes ‘Better Way’ as revolving around hopes and fears or as he says ‘loving stronger, falling harder’. So there is a carefully assembled balance of light and shade that runs through the whole album. Songs like ‘Dark Heart’ with its tense circling strings and broken beats or the ominous slow stomp of ‘Snow White’, explore the shadowy side of life. On the flipside ‘Falling apart like you’ and ‘Little Words’ lighten the atmosphere with their lilting world rhythms, buoyant arrangements and Casper’s pristine expressive vocal upfront. It’s this yin and yang interaction, between and often within the songs, that gives ‘Better Way’ a fascination and depth that echoes back to those tantalising Babybird albums from the 80’s.

‘Ocean Waves’ closes the record calmly, bringing a sense of contentment that reflects Clausen’s connection to the coastal setting that was home to album. Although a simple melody holds the song together, there’s a filmic soundtrack that ebbs and flows as the tune unfolds. Shimmering strings, hushed- vocal phrases and tingling electronics surround Casper’s deep croon before the song curls up on itself and rests. It’s a gentle resolution to a record of hope and sparkle that’s destined to endure through these difficult times – and that’s some achievement.      (Review by Hatfm Jan 20)

[theeverlastingshade]

Favorite Releases of January 2021

5. Two Saviors- Buck Meek

Essentials: “Cannonball! Pt. 2″, “Second Sight”, “Paeidolia”

4. Where the Gloom Becomes Sound- Tribulation

Essentials: “Daughter of the Djinn”, “Elementals”, “Leviathans”

3. Better Way- Casper Clausen

Essentials: “Snow White”, “Falling Apart Like You”, “8-Bit Human”

2. I’ve Seen All I Need to See- The Body

Essentials: “A Lament”, “Tied Up and Locked In”, “They Are Coming”

1. Sound Ancestors- Madlib

Essentials: “The New Normal”, “Riddim Chant”, “Road of the Lonely Ones”

[cintade90]

 Casper Clausen - 8 Bit Human

[heilewelt]

Casper Clausen - "Snow White (live in Finalmente)"

[half-a-tiger]

EFTERKLANG - “I dine øjne”, taken from the new album ‘Altid Sammen’, out September 20th 2019 on 4AD/ @rumraket.

Directed by: Andreas Koefoed

Filmed by: Adam Jandrup

Edited by: Jacob Schulsinger

Starring Helena Christensen and the band’s own Casper Clausen

[nofatclips]

Jonathan, I Can't Tell You by Liima from the album 1982 - Directed by Catarina Neves Ricci

[yellowsnow77]

Casper - Better Way

Casper – Better Way

Tengo que reconocer que no me ha parado a escuchar demasiado a Efterklang. La banda danesa nunca ha terminado de llamarme la atención, pero sí que me han gustado otros proyectos que han surgido de uno de sus miembros. Concretamente de Casper Clausen, que hace unos años nos sorprendió con Liima, una banda en la que se metía de lleno en terrenos más sintéticos. Y la verdad es que obteniendo muy…