#soffie viemose

[nofatclips]

Go for a Walk by Lowly from the album hifalutin - Director & Screenwriter: Frederik Sølberg

[twinkandwink]

Lowly - The Louisiana, Bristol 17th May 2017

[big-low-t]

TRAAMS - Sleeper  (featuring Soffie Viemose)

[kasperstaub]

Kasper Staub, Soffie Viemose & Steffen Lundtoft. Manchester 2017

[chasenews]

TRAAMS RETURN WITH NEW SINGLE "SLEEPER" FT. SOFFIE VIEMOSE

TRAAMS RETURN WITH NEW SINGLE “SLEEPER” FT. SOFFIE VIEMOSE

Photo Credit: Steve Gullick Today, TRAAMS return with the announcement of “Sleeper”, the first song to be released from a series of recording sessions with producer Matt Peel (Eagulls, WH Lung), as the band worked towards completing their first full-length record since 2015’s critically-acclaimed “Modern Dancing”. Featuring guest vocals from Soffie Viemose of Bella Union’s Danish…

[thebittersweetdistractor]

LOWLY  “Mornings”

Danish quintet Lowly are ready to release their debut LP, “Heba”, out this Friday via Bella Union.  The first single “Mornings” delivers an immediate emotional grip blending propulsive rhythms, glimmering synths and dreamy guitars, driven by Soffie Viemose’s bittersweet vocals.

[thankfolkforthat]

New Release, Video & Tour: Lowly - Baglaens

New Release, Video & Tour: Lowly - Baglaens....

With their second album Hifalutin due for release on 12th April via Bella Union, Lowly have shared a visually arresting video for their stunning single Baglaens, directed by Danish fashion designer Henrik Vibskov

Of the video, Lowly co–lead vocalist Soffie Viemose says: “Henrik Vibskov’s extrovert visual universe combined with Baglaens is a match made in heaven. We sent him the song and it…

[piasgermany]

[Video] Lost Horizons “Triptych: A film by Kieran Evans”

Lost Horizons präsentieren den beeindruckenden Kurzfilm “Triptych”, welcher unter der Regie von BAFTA Gewinner Kieran Evans, entstand. Die musikalische Gestaltung des Films entstammt aus der Feder von Lost Horizons. So sind drei Songs ihres Debütalbums “Ojalá” ("The Places We've Been", "Reckless" and "Frenzy, Fear") zu hören.

Lost Horizons ist das Musikprojekt vom Gründer der Cocteau Twins und Bella-Union-Labelboss Simon Raymonde und Drummer Richie Thomas (Dif Juz, The Jesus And Mary Chain).

Premiere feierte der Kurzfilm bei the Quietus, wo Simon Raymonde ein paar Informationen zum Hintergrund preisgibt:"Rather than just doing a straight video promo for the Lost Horizons album, Kieran came up with the idea of doing something long-form to tell a story which is linked or inspired by the songs, with the music used within the storytelling to support the narrative. Because I love what Kieran does, I just wanted to see what he would come up with." 

Ebenfalls besonders und bisher einzigartig: Am 14. September spielen Lost Horizons in der Londoner South Bank's Queen Elizabeth Hall ihr Album zusammen mit allen Vocal Features: Midlake's Tim Smith, Ghostpoet, Marissa Nadler, Liela Moss (The Duke Spirit), Soffie Viemose (Lowly), Hazel Wilde (Lanterns On The Lake), Cameron Neal (Horse Thief) Hilang Child, Beth Cannon, Phil McDonnell and Gemma Dunleavy.

[diandrareviewsitall]

Concert Review: Lowly Are A Danish Power In Berlin NYC

Concert Review: Lowly Are A Danish Power In Berlin NYC

Lowly is my new fave band, in part, because they are from my old town of Aarhus, Denmark. Yes, I lived in the picturesque little town, but I NEVER knew it held Lowly; a band that displays the jolts, jives, and jitters of “pop-EDM”. At their Berlin show, they introduced themselves to America, and we were welcoming to their foreign power.

Seemingly led by Nanna Schannong and Soffie Viemose, the…

[nofatclips]

Wonder by Lowly from the album hifalutin - Director & Screenwriter: Frederik Sølberg

[ricardosousalemos]

Lowly: Heba

When Lowly first appeared with a string of singles in 2014, the Danish five-piece’s proficiency with atmospheres was clear. Those singles, along with an EP the following year, showcased the band’s affinity for soaking its songs in heavy reverb. Naturally, Lowly’s music hearkened back to previous generations of dream pop, shoegaze, and even the Beach Boys recording vocals in a swimming pool. But atmosphere alone isn’t much more effective than aiming a video camera at a hunk of dry ice, and Lowly—like countless bands who aim for a similar feel—appeared to approach music from the outside in, as if tones and pedals could substitute for drama.

On Heba, Lowly’s debut LP, the band takes a quantum leap forward. Opener “Still Life” taps into universal feelings of sadness and isolation with such power it would be unbearable if the music supporting it weren’t so beautiful. “Still Life” captures that moment when one becomes aware that a relationship is doomed. Guitarist/vocalist Nanna Schannong and sampler/vocalist Soffie Viemose sing together, as keyboardist Kasper Staub’s synths sweep across the music like gusts of remorse. Viemose and Schannong convey a sense of repetition over multiple lifetimes when they sing, “The memories distort before I can tell/For centuries they’ve been fading/Over and over again.” Meanwhile, drummer Steffen Lundtoft—who manages to play with both a jazz player’s taste for active patterns and a pop musician’s instinct for economy—drags the beat back to a crawl, as if to frame the glacial pace of the lyrics.

Lowly’s previous work hovered in a state of somber, slightly edgy, but otherwise unremarkable introspection. The music on Heba is exponentially more rich. And unlike, say, Mazzy Star, Lowly don’t dwell in the languid cadence of the first song. “Deer Eyes” might have qualified as techno if Lundtoft hadn’t, in a sense, reverse-engineered an electronic beat for his live kit. Even if they had opted for a programmed beat, the song’s tempo layering and synths, along with bassist Thomas Lund’s Moog work, make it all difficult to classify.

At times, “Deer Eyes” recalls Radiohead’s Kid A-era forays into a form of music that is neither organic nor synthetic, but some combination thereof. At one point, the music clears away as Staub plays a synth line that evokes a warped, somewhat cartoonish string section; Staub drops the line in just once, a deft move that gives the song a fleeting touch of vintage records where pop chanteuses are backed by an orchestra.

The band varies its approach on pretty much every song after that. When Schannong sings lead on the funkier “Look at the Sun,” her cutting voice injects a dose of Morcheeba-esque electro-R&B into the mix. And even though most of the lyrics only vaguely illustrate their subject matter, they shift in texture enough to magnify the stylistic changes from song to song. Named after a friend of the band who emigrated to Denmark from Syria, Heba doesn’t explicitly reference the real-life Heba’s experience. Without that context, you’d be hard-pressed to spot a correlation, although several of the songs could be interpreted to fit a refugee or immigrant’s perspective. “Have you ever felt so lonely/That you could map it on your body?” Viemose sings. The answer for all of us is “of course.” Yet Lowly have found a way to ask the question so that it sounds fresh every time, much like this album as a whole.

[theseventhhex]

Lowly Interview

Lowly

Photo by Anna Jarmolowicz

Lowly describe their music as, “noise-pop, and everything in between.” In this case, ‘noise’ refers to the textures and treatments that the quintet mould from synths, laptop and guitar, which give Lowly’s spacious songs unpredictable, shape-shifting qualities, iced by Nanna Schannong and Soffie Viemose’s radiant voices – all brilliantly layered by the band and co-producer Anders Boll, Efterklang’s long-trusted engineer/sound man. The band’s debut release, ‘Heba’, showcases a thrilling blend of lingering vocals with compelling textures and pop-inspired melodies… We talk to Lowly about the band’s dynamic, political subjects and touring downtime…

TSH: How would you assess and sum up the band dynamic when the band is fleshing out new music?

Lowly: Good question. It’s always different and depends on who has written the demo. Sometimes it goes really well and we’re all excited for the track and where it’s going. Sometimes one of us gets annoyed or impatient about the process. Steffens approach usually is when in doubt, play it out. Nanna is usually very concentrated and humble about what she does, so she goes into her own space to understand where a song is going. Then after some silence some kind of insane wall of noise comes out from her guitar and she is with us again. Thomas has a bit of the same flow as Steffen, and plays around a lot with melodic patterns and tries to avoid the generics. Soffie is often on the floor writing lyrics or sampling something that doesn’t sound like an instrument. Sometimes also standing on her hands or in a weird yoga pose, depending on how focused she is. Finally, Kasper is the melody and chord challenger: he always tries to take the melody into new areas. He is also practicing qigong so he always drinks hot water and is very Zen.

TSH: How pleasing is it to have a trust expressed musically from the inception of demos, which often results in fully-formed songs?

Lowly: It is very pleasing. And it is the reason we have been able to stay together. It’s an important fact that we respect each other’s way of writing very much and can let go of our egos when we go to present a demo. We’ve seen what happens when a song can become better from letting it loose.

TSH: What can you tell us about thinking of your music and lyrics as more like a painting…

Lowly: Well, maybe because a canvas doesn’t have a flip side; everything is there at the same time. You don’t need to leaf through hundreds of pages to understand what feeling we’re communicating, but you’ll need to look really deep into the layers of the painting to appreciate all the details in there. And Lowly’s music and lyrics are not a storytelling kind, it’s more a pouring of emotions and sounds onto a sometimes really big canvas.

TSH: Speaking of lyrics, what leads you to commonly starting with abstract themes?

Lowly: I guess letting go of your ego also sometimes has to happen when you have more songwriters and also two lead singers. That subjective heartache can become a little weird when there’s another person singing it or at least it becomes something else. So the abstract is maybe our common ground in a way. But we do have both very subjective and abstract lyrics - the subjective ones might be coded in an abstract way though.

TSH: Are there particular topics and features that you find very challenging with songwriting?

Lowly: Yes, political subjects are hard. They need to somehow be converted into humanistic matters to not sound sought. And when you really love someone and it’s a good crush, then that’s impossible to write about. There has to be some kind of unresolved unhappiness.

TSH: Was ‘Still Life’ identified early on as the album opener?

Lowly: No, but the intro to the song is so epic, that it had to be the opener for the album.

TSH: What sort of motivations do you draw on to pen a track like ‘Prepare the Lake?

Lowly: We wanted to make something that was moving: both in the sense that the track is very much about motions but also moving in the sense that it has an impact on the listener.

TSH: Furthermore, from a compositional sense, how did you approach the track ‘Word’ from the outset?

Lowly: From the beginning, this track was more clean and less dynamic, but it still had something that was insisting on itself. We had only one verse for quite a while and wrote the second one in the studio on the day of recording it.

TSH: What’s pleased you most about your way of working for the record ‘Heba’?

Lowly: The fact that it was made so efficiently and quick. We recorded the entire album in 15 days. That way of working really brings energy to the process because that meant that instead of moving back and forth between different ideas; we almost always stuck with the first one. The album very much represents exactly where we were as a band at a certain period of time and it also now functions as sort of a time pocket you can dive into.

TSH: How liberating was your performance at Roskilde?

Lowly: That was a big thing for us. It’s an honour to get to play there.

TSH: You’ve also toured the UK extensively; talk us through some of your highlights…

Lowly: To come to London and people singing along to our songs was great. We always like to visit Brighton because Bella Union is there.

TSH: Did you venture onto Brighton’s naturist beach?

Lowly: Alas no.

TSH: What sort of 20th century poetry in particular are you influenced by?

Lowly: Gertrude Stein, T.S. Eliot, Sylvia Plath, Etheridge Knight, Esra Pound, Tove Ditlevsen, Emily Dickinson, Bukowski, Inger Christensen.

TSH: What resonates with you most about the movie ‘Inside Out’?

Lowly: We saw it in the tour van together and at one point in the movie, we looked at each other and all had tears in our eyes. We just sat there crying discretely to ourselves. It was a bonding experience.

TSH: How is downtime spent when you guys are on tour?

Lowly: Watching Skam, doing yoga, qigong, running, eating falafels, going sightseeing, chilling in the hotel rooms, staring at Instagram and taking posey selfies, staring at walls… and also talking to each other!

TSH: What brings about a jovial and blissful feel to your everyday life?

Lowly: Corgis!

TSH: Finally, what opportunities do you relish as a band as you look ahead?

Lowly: We are relishing that people think our music is worth listening to. That is invaluable.

Lowly - “Deer Eyes”

HEBA

[comedytrendsnyc-blog]

Lowly – “Prepare The Lake”

Lowly – “Prepare The Lake”

Lowly are a Danish quintet who play dark, inventive, hypnotic post-punk — think Fear Of Men, but further deconstructed and with Radiohead’s flair for drama. Their debut album Hebais out early this year on Bella Union, and today we’re sharing its latest advance single. “Prepare The Lake” is built from brisk, aggressive drums and ominous synth swells, giving singer Soffie Viemose an alluring…

[fraeuleinsmilla]

NANOME - Cave

[rasmusriiskjaer]

Soffie Viemose 

Play

NANOME