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Et sikkert tegn for alle i Næb på at maj er kommet, er at fuglene er checket ind, alting blomstrer OG det årlige Naturmøde i Hirtshals bliver afholdt. Vi har spillet til denne natur-festival i de sidste mange år, og gør det sørme igen i år. Hvis man er glad for det grønne liv, så er Naturmødet et must. OG så har vi sat en dato for vores albumrelease fest. Al dette og meget mere i dette nyhedsbrev fra Næb.

Hirtshals here we come!

Fredag d. 23. maj har vi æren af at spille på Naturmødet i Hirtshals. Naturmødet kalder siget folkemøde om natur, og det er en ret perfekt beskrivelse. Der er mulighed for at møde et væld af spændende naturorganisationer som fx Fugleværnsfonden, Verdens Skove og De Unge Biodiversitetsambassadører, alle de store kanoner inden for naturformidling som fx Vicky Knudsen og Morten DD har for vane at kigge forbi, der er politiske debatter om naturen, og så kan man altså fredag aften høre os spille.

Vi har tidligere konstateret, at det naturglade folk er lige så gode til at feste, som de er til at artsbestemme fugle, krybdyr og vilde planter, så vi har store forventninger om et opstemt publikum, der er helt klar til at høre nye sange fra vores kommende album.

Læs mere om Naturmødet HER

Albumrelease d. 14. juni

Vores nye album ”Territorium” har været længe undervejs, og vi glæder os virkelig til at sende det ud i verden. For at fejre udgivelsen holder vi albumrelease lørdag d. 14. juni kl. 15 på Flere Fugle i København NV.

Her bliver der mulighed for at købe LP’er, og vi spiller udvalgte numre live. Terese, som lægger smuk vokaltil et par af sangene på pladen, kigger også forbi. Ud over musikken kan Flere Fugle også byde på lækkert bagværk, sprøde pizzaer og lækker naturvin.

Eneste gangbare undskyldning for at holde sig væk vil  med andre ord være, at man er decideret modstander af god musik, godt selskab og gode mad- og drikkevarer. Og hvem kan i ramme alvor kalde sig det?

Vi glæder os til at se en masse søde mennesker og fejre, at vores fuglemusik lever i bedste velgående og måske endda (tør vi sige det?) er bedre, end den nogensinde før har været.

Tilmeld dig HER

LP’er på vej

Vi har tidligere i vores nyhedsbrev fortalt om alle de trin,der er forbundet med at udgive vores musik. Efter veloverstået indspilning, mix og masterer vores album nu sendt afsted til tryk på biovinyl – et materiale, der kraftigt sænkermiljøbelastningen, fordi det er fremstillet af delvist biobaserede og genbrugte materialer. Vi har fået testtryk, som vi har gennemlyttet, og vi kan rapportere, at musikken – i vores naturligvis 100 %objektive ører – lyder rigtig dejligt, når den ligger og drejer rundt på en pladespiller.

Hvis du tidligere har fulgt med i vores gøren og laden, vil du vide, at vores trommeslager Frederik ikke kun er god til at holde gryderne i kog på scenen, men også indtager rollen som vores in-house grafiske designer. Han har gennem alle Dans &Lær-årene forfinet et meget minimalistisk udtryk – et forsøg på at præsentere en visuelessens af de enkelte fuglearter.

Og nu, hvor vi springer ud med første udgivelse under vores nye navn Næb, er han klar til at minimere udtrykket og maksimere skønheden endnu mere. Til vinylentusiasterne kan vi afsløre, at vi som noget nyt prøver kræfter med en flotudstansning i coveret. Vi synes selv, det er virkelig flot, og det er vi sikre på, at I også gør, når vi inden længe løfter sløret for de færdige vinyler.

Næbs anbefalinger

Her kan du følge lidt med i, hvad vi hver især lytter til for tiden.  Hvis du lytter til noget god musik, vi skal skrive om, så hiv fat i os på emailen nederst.  

Andreas lytter til: Rickie Lee Jones: Pop Pop - En akustisk Jazz/Folk plade, der formår at være bådebehagelig og intens, og nærværende og let på samme tid.

Frederik lytter til: Alle: ‘Dine Pæne Øjne’ - Jeg går med noget dansk denne gang. Projektet hedder Alle,det er skabt af Natal Zaks. Meget underspillet, tilbagelænet minimal og lidtlo-fi elektronisk funky pop. Jeg kan anbefale albummet ‘Dine Pæne Øjne’ fra2018. Bare superfedt.

Lars lytter til: Boncana Maïga: Koyma Hondo - Min ven Doctoren spillede denne her EP for mig sidste lørdag og tommelfingeren sidder absolut løs på denne samling af Afrofunk fra en malinesiske fløjtenist med 4 tracks fra 1978-82. Det er musik, der er nærmest umuligt ikke at bevæge sig til.

Bjarke lytter til: The Walker Brothers: Nite Flights - Hvis David Lynch havde lavet en tv-serie, der foregik på et krydstogtskib, ville bandet nok lyde cirka, som The Walker Brothers gør på "Nite Flights". En mærkværdig blanding af uhygge, pop, avantgarde og70'er-boogie.

Hey, du nåede ned til enden af vores nyhedsbrev!  

Som bonus får du en mågevittighed:  

Hvad er mågernes favorit tv-program? Go' mågen Danmark

Kh Næb aka Frederik, Andreas, Bjarke & Lars.

Hi all.
I've been working on a solo piano album for quite a while now. And since my upcoming album "The Troll and the Moon" is not happening until early next year (fingers crossed for funding!!) I'd love to get cracking on my piano album.

The idea is to release it as 4 differently themed EP's, with 4 tracks on each.
And since we live in the era of streaming (for better or worse), I will release on track at at time, ending up with 16 tracks on 4 EP's.
Finally, I will release everything as an album..

Will it work? Maybe.. will I get millions of streams?? Maybe... but probably not 😄
But it's worth a shot.

I will make all EP's available for you guys here at Sleeve, so you can listen to everything and don't have to wait for each new track to drop.

But I do need your feedback on my idea for the 4 covers.
I've been quite fascinated by string art for a while, and really think it's quite beautiful.

So I've created the covers based on that, and would deeply appreciate your feedback.
They are different, but obviously connected, and the semi-circle in the corner will become an entire circle once the 4 covers are merged for the final album.

So do let me know what you think. Your help is greatly appreciated 🙂
Thanks,
Jesper

Dear friends. 

The day has come! The album is out. 

I have released a few over the years by now, but I think this one is among the best I have ever done. It has been a special journey. A thorough investigation of my own family history. The invisible marks that traces through time, which we embed in each other through generations. A process that was initially kicked off by my creative exchange with director and screenwriter Anna Emma Haudal, when she asked me to write the music for the DR drama series Generations. In that process, I had to draw on my own experience and what we all have in common. Being human. With more or less complicated family relationships. The unspoken that can be inherited, which nevertheless shapes us. All of this has helped to form the framework for the songwriting for this album. I hope you will listen and share and that you may be able to see your self reflected in some of the songs and that they will have a continued life with you. I owe the biggest thanks to my darling and closest collaborator Silas Tinglef, with whom I also wrote a few of the songs. We produced the music together and Silas is an inexhaustible source of exuberant and creative energy and plays a myriad of instruments on the record and has also recorded and mixed it all. Everything becomes a little easier with him! In addition, I would like to highlight Maria Jagd who contributes with eminent string arrangements, which have helped to lift the production to a great extent. Furthermore there are beautiful contributions from AC on bass, Anders Trentemøller on synth, the dearest Ned Ferm on saxophone and flute and Lucky Lo on BVs. A big thank you also goes to Brian Batz who has mastered the record and to my fantastic record company for many years now, stunt, Peter and Laura Littaur.

You can stream the album here!

https://orcd.co/kiraskovwhattiesustogether

Love from Kira

I think it was 1965. I was maybe 15. Maybe younger. But I remember the piano.

It was an old upright—Canadian-made, a Heintzman. My parents had bought it for my sister, because girls were suppose to play piano (according to them) but I kind of took it over. I played that thing day and night. My mother called it “banging.” She’d shout from the kitchen, “Stop the banging!” But I couldn’t stop. Couldn’t tear myself away.

It started with trying to learn piano, but the truth is, as soon as I was playing, I was writing. The two things—playing and writing—were the same motion, the same instinct. I’d sit down to do a Bartók exercise and end up, an hour later, with a song instead. I never got far with the Bartók. I guess I had too much to say.

At some point, my father—who, instead of buying things, always wanted to build his own—brought home a stereo tape recorder. Just for a little while. Two small plastic mics, a red button, and suddenly I could hear myself back. That changed everything. I was hooked.

00:00

Hushabye and Goodnight 1

03:48

This is the first song I remember recording—just one take, live with the mics sitting near the piano. No editing. In fact there’s some piano leaking into the vocal mic, because it’s all recorded at once. That song came from somewhere deep—maybe loneliness, maybe teenage confusion. We didn’t use words like “mental health” back then. But music? That was the thing that kept me alive.

Here is a photo of me at around that age with my first (very cheap) Kent guitar! Bought in a pawn shop in Toronto, and fell apart while I was playing it :-)

I grew up in a difficult household, in a time and place that didn’t know what to do with difference. Toronto in the ’60s was still a WASP city. I didn’t look like the other kids. I didn’t sound like them. I didn’t belong. And when you don’t belong, you need something to hold onto. For me, that was music.

My parents were political—left-wing, union people, McCarthy survivors. So I was raised on Odetta, Pete Seeger, Woody Guthrie. Songs with purpose. Protest songs. Music that stood for something. I think that spirit stayed with me. Writing songs wasn’t just a hobby—it was a way of making sense of myself. Of connecting to something bigger. Or maybe, just someone.

Because when I wrote this early song, I didn’t have a girlfriend. I wasn't in a band – that would come later. I was singing it for myself. Maybe to soothe myself. I don’t know for sure. Maybe to imagine safety, connection—being seen, being held. That’s the thing about songwriting: you learn things about yourself you didn’t know were there. The song becomes a mirror.

Eventually, people started showing up to shows. Not a huge crowd—but someone would come once, then again, and again. And you realize: something’s happening here. You’re not so alone anymore.

I never did finish those Bartók etudes. But I wrote a lifetime of songs instead.

And maybe, in a strange way, that was the exercise. So here's close to where it started for me. I wanted to share this early piece with you.