Released: 1966

The opening track of the debut album from The Velvet Underground and was released as a single with “Femme Fatale” the same year. The album “The Velvet Underground & Nico” has been widely regarded as one of the most influential records of its time.

Written by Lou Reed and John Cale on a sunday morning (fact) with the voice of German singer-singwriter and model Nico in mind – but ended up with Reed himself singing the vocal. The bands manager, Paul Morissey, originally was opposed to the idea and regarded Lou Reeds voice as less remarkable than Nico – who in the end supported Reed with the backing vocals. Luckily, artistic expression took precedence  over commercial viability.

The band was managed by Morissey and Andy Warhol, who also did the artwork for the album. Warhol and Morissey had previously used the acting talents of Nico in experimental films like “Chelsea Girls” and insisted that she became a part of the group. It was to be a short fling, and she left the group shortly after the release. She was romantically involved both Reed and Cale, but no drama was behind her decision to quit the band. Both later worked with her. On that note, they were not the only  high profile musicians she was involved with – the list also included Jackson Browne, Bob Dylan, Tim Buckely, Iggy Pop  and Jim Morrison.

The song is laid back and beautiful – perfect for those lazy sundays spent with a long breakfast, a sunny day in the park or in a deep couch of a smoke filled café. The celestas soft and light sound, set in the context of the psychedelic, unpolished and unmistakably british rock sound, with Lou Reeds characteristic voice and simple lyrics creates the perfect contexts for celebrating the lightness of being.

Fast Tube by Casper

Released: 22/09/2009

Florence & The Machine took the UK festival circuit by storm this year, before moving on to conquer the rest of the world. Despite the name – it’s all about the charismatic redhead Florence Welch. Her lucid voice first caught the attention of the BBC and she hasn’t turned back since.

As for The Machine, it’s a flexible beast. It can go right down to Florence and a drum kit or a piano, but right now it’s a seven-piece band including long-term collaborators Rob Ackroyd (guitar), Chris Hayden (drums), Isabella Summers (keyboards) and Tom Monger (harp). Live, Florence and The Machine become an entirely different beast. No two performances are ever alike – as I witnessed at this years Lovebox festival.

“Rabbit heart” was the third single from the best selling debut album “Lungs”. The original version of the single is a powerful piece of vocal indie music, bearing some resemblance to what a female version of The Flaming Lips would have sounded on “The soft bulletin”. Harps and strings, break beat drums, haunting vocals and lucid piano make up some of the many aspects of this multi layered monster.

Jamie T’s Lionheart remix changes the drums to a slightly off, wandering beat, and focusing on the magnificent piano chords, before it builds the pace with a simple, yet so effective old school breakbeat. It is a close race between the two remixes. But in the end it is the magnificent Leo Zero remix that does it for me. The slow disco beat and accompanying drums and the main piano chords builds in with slow pace before it almost unnoticeably changes into dream territory by layering more elements before it slows down and then builds again.

Florence also did a decent cover version of Candi Statons wonderful “You got the love”. It was never released as a single but an unofficial white label with the UK garage inspired remix from The XX has recently found its way to the market - I just can’t get enough of it.

Official site | MySpace | Juno Records |

Released: 20/10/2009

One of the most distinctive voices of Norway, Erlend Øye has a lot going for him. Whether is Dj’ing and releasing compilations on !K7, as The Whitest Boy Alive, solo albums or Kings of Convenience, Øye has tons of artistic integrity creating his own interpretations of influences while jumping easily through invisible but often defining genre boundaries.

The bands signature sound is defined by acoustic guitars, minimal and light percussion leading the lullaby melodies vocals to its rights. Erlend Øye leads the show, accompanied by Eirik Gambak Bøe. Combine that with thought through lyrics about daily concerns most can relate to and you have Kings of Convenience (or as they say; “music your parents can listen to too”). A well defined project that delivers what you expect and still leaves you with appreciation. The ability to create a rich soundscape based on minimal number of elements is quite mesmerizing, sounding effortless and improvised yet so structured and arranged down to every little detail.

Like the two previous albums, the cover artwork on “Declaration of dependence” is a good cue to the atmosphere. It also tells the history of how the record first came about, with Eirik and Erlend spending time on the same beach in Mexico where they did a gig. The duo had not worked together for more than two years and wasn’t sure if there would ever be another Kings of Convenience album, but the circumstances helped them find together yet again.

The album was pre-released to Spotify Premium members almost a month before its full release, and it it refreshing to se artists support new consumer friendly business models. Kudos.

MySpace | Amazon | Spotify |

Released: 22/06/2009

It has been a while since my last post, the reason being extensive traveling. Over the past month I have been to London, Ibiza and Barcelona – all providing new musical experiences and inspiration. One tuesday a few weeks ago I went to the Notting Hill Arts Club and Marina and the Diamonds did a live gig at the intimate underground venue. I was unaware of the Welch-born, London-based Marina Diamandis, but the Arts Club is great for both discovering new talent and to hear good djs and electronic artists.

Marina impressed me both with her voice and her presence on stage. The crowd was special as well, made up of a large proportion of her friends. Her voice is distinct and powerful, yet fragile and sweet. Comparisons to Florence and the Machine is not too far off. ”I Am Not A Robot” is the lead track from ‘The Crown Jewels EP’, released through Neon Gold on 22nd June 2009. Check out the video here, and a live BBC recording of “Mowgli’s road” here. After releasing her first single, she has appeared live at Glastonbury and her tour schedule is now filled with both UK and international dates. One to watch!

MySpace | MySpace

Released: 30/06/2008

The mighty Modular label have provided us with tons of good stuff in the last few years. Chromeo, Colder, Cut Copy, Jack Johnson, Klaxxons, New Young Pony Club, The Presents, Wolfmother, Robyn (yeah the blond swede), the Avalanches and much more. 

This the second single from Ladyhawke, raising the level from her first single “Back of the van”. It is definitely true that Paris is burning these days, so much good stuff coming out of the french capital that it would be unfair just to list some of them here. The city of love is screaming all night long.

Remixes from label-mates Cut Copy, Alex Gopher, Peaches, the almighty Chicken Lips and a french take in the “Paris Senflamme mix” – A package you should find hard to resist.

On a personal note, I am looking forward to see Ladyhawke at the Lovebox Weekender in London’s Victoria Park later this month. This festival is the lovely creating of the mighty Groove Armada, and is an event you can’t miss. 

YouTube | Modular Recordings | Ladyhawke | MySpace

Released: 01/04/2008

This lady is taking the world by storm. Coming from a musical family, Pip Brown is a real multitalent playing all instruments on her album. She had a brief stint as bassist for the Australian band Teenager, before starting out her personal project as Ladyhawke – with the freedom to express herself without answering to anyone.  

“Back of the van” combines old school 70-80s vintage synth hooks with a catchy pop vocal, backed by some a very decent bassline. It is not ground breaking, but hey, it is a happy tune you should be able to move your feet to, so don’t be so critical.

Remixes comes from Fred Falke, Van She Tech, and Mock and Toof. The “Ultimate Beverly mix” is providing us with a Falke’s traditional happy and dreaming french disco soundscape that compliments the original. The Van She Tech remix provides more punch, a darker, driving electro house mix that mess up the vocals and adds the distortion that seem obligatory these days. Behind the moniker is Michael De Francesco, who also produced her album. Mock and Toof’s mix is a more minimal, funk based disco take that grooves along neatly. Good package overall.

Youtube | MySpace | Modular Recordings