En åben snak med Trommeslager & Kapelmester Claes Antonsen om hans passion for musik .
En åben snak med Trommeslager & Kapelmester Claes Antonsen om hans passion for musik .
Music. Welcome to the Museo Local podcast. My name is Peter Visti and I have been a musician for my entire life and I have lived my entire life of music in one or the other way. I am a musician and I have been a very young person who has been on the phone with my head and listened to music and during my entire life I have been practicing. Music is my passion, my drive, my humor and daily forms of music. And what changes music? Music has a unique ability to express feelings and connect people in different cultures. My goal is to find out how different people experience love for music and how it varies their lives. What is the purpose of the new guest? To talk about their relationship to music and how they live and influence music, insect inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Local podcast, music, meet Drug. And welcome to Claes Antonsen. Yes, thank you. How do you present yourself? Trummaslayer, the capital of Trummaslayer.
Speaker 2:Yes, that's the two things. Yes, and music loves you.
Speaker 1:Yes, music loves you too, Claes. I don't think I know anyone who has played so many jobs as you.
Speaker 2:It's great to think that I started when I was 17, became a professional and was so young I was called Confiemanten.
Speaker 1:Yes, that's right, they called me Confie.
Speaker 2:Yes, and it was 18 years since I started touring with them and moved from home and went to third grade at the Music School of Gymnasium in Aarhus.
Speaker 1:Yes.
Speaker 2:And then I have played constantly, right from the beginning, and I have been in the field for 30 days, myself arranged out.
Speaker 1:Yes, it has been a few times.
Speaker 2:But I was at a time when I played 3-4 concerts a day and had a little basket of flies or small flies. I didn't know that myself. No, no, it wasn't Dottekoller. No, and I didn't have a hat. No, no, but what? Yes, but, but I flew around with pilots and then I played all the time and that's because I thought it was a sight, but it didn't go as fast as it was.
Speaker 1:Yes, it was also a lot of jobs.
Speaker 2:Yes, because you will be late. Just at the last moment playing with some people and then you are waiting for them. You are nervous. If you come and then you start finished writing again, you will actually just have a bad friend to touch. Yes yes, she apologizes. And it's fun to just try a few years and then you have done that, but then I didn't know. No, no, but then it's better jobs than today, right, yes, yes, exactly, I understand that.
Speaker 1:And Kles, to start the interest in music. Is there music in the children's house? Where the hell do you find it?
Speaker 2:No, it's pretty wild, because I can remember my mother playing trumpet in the spider orchestras. It wasn't just in my mat, you're not there to play. And my father had only a German hammer, organ hammer and oveal boards and of course now in Amsterdam. But I can remember my sister. She heard Bob Dylan the song called the Hurricane. I think it's 15-20 minutes long.
Speaker 1:It's a fantastic song.
Speaker 2:And it's probably before the world itself.
Speaker 1:Yes, exactly.
Speaker 2:And I can just remember I heard Prince Bolvano playing. Do you know what it is about?
Speaker 1:The Hurricane.
Speaker 2:Yes, it's about the boxer. Yes, exactly. Then you get a hit from the other side Just because they hit a white man. No it can't be.
Speaker 1:But it's about the boxer.
Speaker 2:It's about the right will now, but I can remember that and then, if I just have to repeat myself, I'll start with playing. Should I tell you about that? Yes, you're absolutely right I started as a 13-year-old with playing because he had a pair of shoes.
Speaker 1:Yes.
Speaker 2:If he had made such a shoe in a orchestra at Van Horn.
Speaker 1:It would be called the shoe horn instead. Yes, the hurricane. Yes, what was it? I have to say it's a big no-op-sync.
Speaker 2:No you do it in two bars, and then the hurricane yes, that's right. No, then what's it called? But then we make a children's orchestra because we see some playing on TV I have fjassers there, yes. And then we go. It goes very fast, I run a little. My father was an engineer so he thought and I was good at I know well. I know well. But physics, chemistry, mathematics, yes, because my father just tried it in the head of a bummer. So then we start playing. He thinks, oh, that's not fun. No, and it's just about the touch and it's just the gasoline on the ball.
Speaker 2:All the time that I play music and then I first had a big drum, no, a little drum I had, and Pallek bought a no, a ficking electric guitar Christmas gift. Yes, he was actually a cyclist for me about the winters of the first Christmas day, and then my father just got me a fad, or just built a stag and broke a high-touch in a pop box and then he could play on an electric guitar.
Speaker 1:Wow, so there was. Hey, father man, there you were, so there was a good one. Yes, yes.
Speaker 2:So we make an orchestra called Red Sun, but it's a bit too old-fashioned, I think, because it's called Blue Sun from Andersen hippie orchestra. Yes, and then I find out that we're going to call it Cornflakes because it's more children's rock-like, are you sure?
Speaker 1:I've had a band called Naughty the same. It's Løyn, it's true. With C it was Cornflakes Music After Morning man, and then it was just the Flakes instead of Because it's also good.
Speaker 2:It's also me and Ujo yes it is.
Speaker 1:You were Flake. Oh, I was Flake, yes, but I have the will for everything. It's a good thing.
Speaker 2:No. So I made the will and cast, and then I was with my father here for a while and then I found the flute cast in the basement with my last thing as a possible, and then there was a marble and trombone, some brass and everything, all sorts of things. This is something like 75, 86, 80, 80. And then I see a setlist I've written I would say like 13 years ago. I do what I do today, and then I think it was pretty cool if I found a guy. So I end up on the right path. So 100 percent.
Speaker 1:So there is.
Speaker 2:Conflict for her, like when I wrote the Anthony Leoghstra or Thomas Helmi, and then I wrote the day two and then I wrote a setlist. I did that in 1996, 90, 90, 90, 90.
Speaker 1:Oh, that's crazy.
Speaker 2:Yes, it's crazy, but it was just with a lot of form letters that stood Well, I think it was now, oh no. I think it was not worth it, but it was pretty cool and then it was still a little wrong.
Speaker 1:Are you any single that you chose the class, or is it just passion at the time?
Speaker 2:It's just passion, and I think maybe too, because it's just so crazy I've talked with Thomas Helmi a lot more than before maybe. But not many times. We get a clue about it Because he was also a teacher. His father was a teacher, his brother was a teacher and all his sisters are researchers and all sorts of things and that was also part of the teaching. For me, thomas, it was actually teaching against the father-man, and that was the real gasoline.
Speaker 1:That's the one that's the best, instead of helping some people.
Speaker 2:I can also remember that I lived in the head of the school in 25 years old when I met all kinds of parents at the head of the school because I play music. So Alexander is absolutely fantastic at the piano and he has to have a keyboard and say, hey, that's completely ridiculous. If the flame and the spirit are there, then it must bring it home. Then he finds a different game. I built my first drum set out of those that were made of wax, powder drums or tuners. They were huge.
Speaker 1:They were huge.
Speaker 2:It was like a scum.
Speaker 1:Yes, yes, yes, you could go in and out, and then you had two together.
Speaker 2:Yes, but then I built a whole drum, set out of it, and then I had to loosen it Because that flame for self-carnation music is the one that's still not coming back home. So when they're up at the head of the school they say, hey, that's completely ridiculous. Then give him a hammer, give him one or the other. If he has the flame and the spirit, then it's the one that's bringing him home, and if he's father gets a keyboard, then it's not what he's supposed to do. I'm supposed to do what he's supposed to do. So let's turn back to Ben's life. Thomas and I haven't told him that of course it was the gasoline on the bowl, but it was also a flow from and maybe what do you think from the wrong hole. Maybe, just like I was going to be an engineer like my father and was really really good at it, because I've gotten into the right conflict.
Speaker 2:So I think that was also a way I could be quiet and disappear into a world where they couldn't be here, just like Rock'n'Roll came in, where you could get into a world where parents couldn't understand it, and that was all the console games that the parents couldn't understand.
Speaker 1:And I have a son in hell where he plays everything and I have no chance of winning anything but you know what I mean.
Speaker 2:You find a place where they can't get into.
Speaker 1:So it should be. We all should have their own revolution. We should never have made them our own. No, that was also for me.
Speaker 2:I remember I promised to go to school in the evening, and then there was the youth revolution. Are we living the same life? I'm only three years younger than you, but there was the youth revolution and there was the gasolini number, called as a striping fan group, and they died every time they played and I was very sad at the beginning. Almost I can feel it.
Speaker 1:Are you sure I have remixed it?
Speaker 2:No, how do you say that?
Speaker 1:I was the only one who was allowed to make it with the original material, so you mean you were sitting there for one of the seven superheroes. Yes, I thought you were six, but okay, then I'm seven. I have actually the Keltolstrup died because the remixes were made of electronic equipment, and Kim Larsen himself died.
Speaker 2:He thought it was good. It was difficult to get through with something.
Speaker 1:Yes, but I don't know if it was in history, but it was also in me. The gasolini was also the first. For me it was the biggest.
Speaker 2:I saw it as it was also in 34, when I was out in the library and I was taken out to just see the sound test, or rather outside, because I could. It was very bright, like the stones are for me today, right, so it was just super bright and then I just wanted to hear them and such a bear made a sound test and it sounded like a kind of potato flower, you know, in the Keltovgang.
Speaker 1:Exactly.
Speaker 2:But it was fine and I was there and then I saw the concert. I don't really remember. I saw it in the little light because the gasolini, where the first ones had really something like that, was very bright. It was from England, it was white and then it saw the little light, the little light, so it made the sound. So you know the little light, and then I thought I'll go up in that light it's just something for me.
Speaker 2:I'll go up in that little light it also came, but it was a bear. I remember it was a completely powerful one in me, and then, just to go on and then to play with it, I made it with a peltorpe as a cornflakes.
Speaker 1:Cornflakes, as we have many others.
Speaker 2:And then it continued to be a televasord, which is the orchestra that had Thomas Helmi before. It was Thomas Helmi's brother. It's the old story where Thomas comes to the recording. You've heard it before? Oh, they should have yes, he comes to the recording of the televasord, and then I tune him out.
Speaker 1:All right. No, you can't actually imagine it's his top story.
Speaker 2:All right, because I was beginning to play with Henning Sterkban and they were very 15, 20 years old, or me or them. So since he's a young I mean two years younger than me he's like oh, it's a little weird, but if I just have to be with them, but maybe there's a little competition, if you don't mind if things happen and then he comes with you. No, it's not that because Thomas Helmi hasn't been with him yet. No, no okay.
Speaker 2:But what's the name of it? But I can just remember that. And then at least there were the others so close to the orchestra. And then he came with us to the second. We saw each other and we were together. That was my best friend since we started making music together and it was fantastic. But I voted for him first.
Speaker 1:Yes, it's fun, but you said that you voted for me, which I've had the biggest controversy with, which is my best friend.
Speaker 2:Is it true that there is?
Speaker 1:one other genius that fits.
Speaker 2:It was also in the school. I can say that I was in the gym myself. I remember that I started out. Then I was in the gym with the KU type of limitless. I was also in the hip hip With military boots, camouflage jackets and Icelanders. And then there was a real KU-outwear contest in the youth or the cost-toy and some American high school hair and a piece of me completely we were just touching it on the other side and then there was a half year that we were the best friends.
Speaker 2:It's a joke, maybe Not in what you see in your eyes, in the skin in the right way, then you can't really.
Speaker 1:But then you have to take two of them first. Yes, that's what I'm talking about. And Claes, it's a great career after all, with the recordings and all that, that's what I'm happy for you to say Well, that's what I can say.
Speaker 1:I've experienced a thousand times with Helmy and stuff and actually he's actually been signed in the jacket you helped me with, where we didn't know each other, where did you stand on that, it was with Thomas Helmy. We met up, we had seen each other in the cellar, and then we were a whole flock of people who were determined to get to see herning and then.
Speaker 2:So you just did what you had to do now?
Speaker 1:Yes, you just did what you had to do.
Speaker 2:That's what we said.
Speaker 1:It was before you just got to know me, but then he had a striped diesel set on.
Speaker 2:We were responsible. I actually had a coffee with a contact diesel and then we just started getting a lot of diesel.
Speaker 1:And then there was this kind of thing, it's the milk drink like it's a slurry. It was a huge deal. It was a jacket set. I think it was on the Groovy Day in the audience. You could hear it on the phone. Yes, but you can see it. Is it love to music? Yes, it is love to music. It's my call to the room it has to be on. Now I'm going to tell Kota who just fucked up.
Speaker 2:No, it's just Thomas.
Speaker 1:Phil.
Speaker 2:I was the first to see that movie.
Speaker 1:Did you see it? No, I haven't seen it yet. No, fantastic, I'll hit you. Yes, it's so nice. But then I saw it and then I actually got the diesel set in Aarhus. And then a fucking diesel set came in, yes, and then it was there. Then I bought it. It was a perfect idea and we ate a man who wrote all of the things I had to do Because it was not anything.
Speaker 2:It was a showbiz.
Speaker 1:Yes, it was a showbiz, and the only thing is that when I go to see it now in Herning, I just wait and see what the fuck? Where did you get it?
Speaker 2:from here's Thomas.
Speaker 1:Thomas played in the same set.
Speaker 2:No question, there was nothing. No, there was nothing. So I've seen it many times it was a good victory?
Speaker 1:why yes, but we've only had a good victory. I didn't find a bad victory. I did it. No, it's true. But, grace, I don't know if we should go ahead. Should we talk about everything with Helmi, with all the plates and stuff? You?
Speaker 2:just have to do what you want to do. I don't sit and run chronologically.
Speaker 1:No, we're talking about the Christ of the Thieves.
Speaker 2:I can feel it if you just tell us about love for music, if you're that. I've learned a lot. I've been with Andersen. He died, he was there. Dancer Kester and Snickers and maybe North Europe's best percussionist fuck, he plays well. And then he was a composer and Jacob has written everything. He has written all the songs. He has written all the songs at the same time he has produced, and percussionist he has played really well.
Speaker 2:It was actually the first Jacob's program. I played 20 years in Dancer's orchestra because we had nationalized both Helmi and Kester, helmi brothers and Dancer's orchestra. They were rivals when it came to the big plate and we came with less Europe. But we had him, jörn Klubin. He sings really well, he's a natural talent. In those 20 years of playing Dancer's orchestra he could come home and play for 10 years or 5 years and he sang all the same tunes. There's nothing it's not supposed to be the same.
Speaker 1:No, it's not supposed to be the same, it's all going to be the same, but he plays.
Speaker 2:But we have Thomas Helmi, a great talent. He just becomes a real hero and he has written all the lyrics and he was totally blessed. He had the whole full plate, but Jörn didn't have the full plate in the same way and he had to be a normal person like Thomas.
Speaker 1:No, he didn't, and he also made all the music.
Speaker 2:So there was always competition at the start because we played many double concerts and we always lost with the tuner. I didn't lose. I didn't lose, I'm sorry. With Helmi they played. I had to go to Kobe to try and give Denmark's best guitarist.
Speaker 1:Yes, it was a good band.
Speaker 2:Jacob and some of them played Rövnöde Buk and we were more like the digger. We played a little too fast or a little too fresh but we had a different energy. But Jacob asked if I wanted to play in his orchestra. He was really a great hero.
Speaker 1:He had the order maybe that he was great. I'm glad I got him. What was it?
Speaker 2:called and then he asked me it feels like a ride and a sleigh. It can be a bit of a bang for music. So bang for music is not good enough and there is fear in all and fear in all musicians. It's the first time I've been to a sport if I'm playing and thinking, fuck, I'm really so good.
Speaker 2:Was it such a blue-sounding yes, it was 100% white-sled and then I got over it because he was like he was just the best. But I hope I'm supposed to go to Kobe. They had the best mage.
Speaker 2:I mean I still have it but mage it means the timing they have, so cool. There is still my love for music and unfortunately I have learned that you can learn something everything. I have played. I haven't played many plays. I have played with Kirsten Sies because I said I am for that. I also got to play a fucking duet with Otto Brandenburg, and that's what I have done. Or I have played with Tamar Ossanes because she is country and it can be a bit sad to play, but then you just have to find a new way to do it. If you have love for music, then you don't have to worry about it. You have to find love, love and love in it, because then you just have to find something cool and then you can find something new. And that has always been understood, that you can learn something, everything. And now I say something that maybe doesn't work out, but it can also be done.
Speaker 1:Yes, that's perfect Is it okay.
Speaker 2:Yes, you can see it. Well, you almost got a cold.
Speaker 1:Oh, I'm starting to sweat a little more.
Speaker 2:No, I can remember the first time when I felt a bit like that. It was a paid job, I felt a bit like a loser. That's when I was a Capel Master from IQ and the John on a pop star tour. Because I have always said that, or I don't play with such star search things, that's why I don't play on X-Factor and Stena Dina, because my love for music is so big, so I will play it with something decent.
Speaker 2:I don't want to play with someone I have to cover up for the Lord. When I played this tour, I really had a bad feeling because I felt sorry for them and they were all green when they sang. Well, no, no, no, Not in relation to what we were.
Speaker 1:But have you not been quite good at saying yes to things that Well, I've learned?
Speaker 2:everything In my career. I was 17,. I was a professional in the age of 36. Chen lived that. I never had a job, but it's also a job. It's very important. It's just as much work as you can imagine. It's much more, because you can't say yes to things like that.
Speaker 1:It's always fun to have a nightclub with DJ and I've been DJ for 43 years and I've had a great job but when they say, you're just standing there and you're doing it?
Speaker 2:what makes you so real?
Speaker 1:What makes you so real? It's the least I can do. I had that. What makes you real? You should never have a job.
Speaker 2:No, I was just saying it was all about having loved playing the most long-term things Because you could find something to learn from it, and that's just the way it is.
Speaker 1:I've always chosen to do it.
Speaker 2:I've never chosen to do it.
Speaker 1:It's also something to do with passion.
Speaker 2:It's awesome to be able to say that it's just one act. That's been a month or something out of 43 years where I was a little bit pissed off. I remember when I was with Jack and Watterson we were sitting down on stage and I said I can't remember it first, because you forget, you start to be a burden when you're supposed to play a song. So I said I hope they don't hear this.
Speaker 1:No, they don't.
Speaker 2:No, they don't. There's Jon, he's the DJ.
Speaker 1:Yeah, he's the best. I think I'm friends with Jon on Facebook so it's good to be friends with him. No, it's not good.
Speaker 2:And he also gave a little bit of a beating if he's a striker. No, it wasn't good at all.
Speaker 1:So we're all so stupid, we should also remember Jon. So I'm standing next to Jack.
Speaker 2:I'm standing next to Jack and I'm going to say I can't remember the first number, but I can remember what I get from it.
Speaker 1:It's the kind of thing where you have a job and the beat is at the top.
Speaker 2:So I'll just say I've found a heart in everything else.
Speaker 1:Yes, but I think that what you've said, you've been good at saying yes, because I think that you Now there are many seasons on TV and I think that there could have been something good. Now you get a voice-over With the dancer orchestra and also a little bit of a bit of a play. When you go into so big commercial productions, I think I'm doing that?
Speaker 2:Yes, I can tell you that when I started the Wilma Dance, when it came to Denmark, there was one tour in England where it was not studied. It was an old dance show where he had an old world. He had Blackpool 30 years ago and that was can you remember Piggie in what was?
Speaker 1:it called Wobble Show.
Speaker 2:It was a dancer under the light. It was a parody of Hans Graf's show. No, they knew it. It was called Come Dancing. It was a strictly come dance show. They didn't know what it was made of, they just knew it and they made it to be a big TV show?
Speaker 2:Yes, exactly. Then I got asked and I can see it. Well, okay, it's fun because we can play, and I knew it too. That's when I came to Copenhagen and there were studio musicians, all the big studio musicians, the computers. They came and started sitting at home. Then there was Easy Sound Pug like Nick Hohen.
Speaker 2:And all those things. They looked, they were fit backstreet, all of them were made flat. They looked down because there was no room for people to sit at home on their computers. That means you didn't have that. I was also in a team with Billy Cross last day. I was supposed to copy me. We played on everything possible and suddenly there was that group, like the ones who play on the Wrecking Crew. They were called Hal Blana. They played on almost 60 something, yes, 60.
Speaker 1:They were in Motown.
Speaker 2:Yes, motown, they played on more than more hits than Billy's songs they've made, but they played all the time and that stinging power and the mileage you get when you play music. It's good that you relax and relax so you don't get a bit of stress, and it's great that you work so hard. So what was it called? I can't see. Okay, did that? It's going to be a total mess there's a lot of content.
Speaker 1:I'm not a fan of playing with the drums. It wasn't that bad.
Speaker 2:But it was more that I could see that we were playing together with the band. All the time it disappeared that you could play together, so I could see, okay, here I could get something that we could play music. I think we play more music on a Willemiddens program than in X Factor.
Speaker 1:We play all the time. So art, yes, yes, yes.
Speaker 2:And we do that on a day, but I could just see that it was fun and it's just a question of the matter, and if you put the children so high, you are world class.
Speaker 1:And you've also been set a goal. That is really fantastic.
Speaker 2:Yes, I've been given the opportunity to say that I'm the world's best Willemiddens orchestra. So it's art to put the children up because you love what you do. If you put the children so high, you simply have to make them smile, or everyone gets comforted over how good they are.
Speaker 2:It's done on Willemiddens and then it's been a festive side and it's fun. Every time it's a new number, new number, new number, new number that needs to be cancelled, and so it's the best. I don't have any conditions. I've learned that it's something people in the music school it wasn't right. We were not really playing before and we have been playing a lot of Paltor yes yes.
Speaker 2:And then the first real challenge I've had is to play 20 years at Willemiddens for the opening of the band Klum 8, fredderaft, and play jazz tango. And I've never played anything before, no, I've just come to the to play some soul music, you know, under rock, something like funk and soul, yes, rock and funk and soul.
Speaker 2:And then it's called and so that's what I could promise to play Everything I learned at the opening of the band, because Friday at 2.00, the hammer falls. If you don't play it, people will be like look how bad you are. So you just have to put it together and I've always worked best with the jack-cars in my back, so I've learned that. I've learned that in the last few years. I've learned it all, so it's the best performance I've ever got. I think at the opening of the band. I'm late for the opening. Fantastic, but was?
Speaker 1:there anything was it hard to get into the band when I think, as a DJ, we're always in the middle of the world and we're always in the red. You know, you know where we're going where you're doing things, where you want to do things yourself, where you're playing in the middle of the world. Yes, exactly.
Speaker 2:And that's what I do, that's right, gentlemen?
Speaker 1:No, that's right. It's not my fault. I came here to ask it's true.
Speaker 2:What's happening is that the whole industry and Thomas Helmi is actually my best friend is starting to get over it. I can't be with my orchestra if he's doing a GCS dance program with brungrim and something and spray-tying and stuff. And then I say and it says or there are several of you, you do it there, so it's dance, dance, music, not dance, but wave ball. Right, then you're done. And then it's more like they said it to me and I said it's crazy, but they do it, you have to be funny. And then I said it with bare hands just up. Bare hands just up, because then there's no one who can come after it and it's self-deception if it's all right or bad, and then it's just to set it so high so you become the world's best. But fuck the bad mood in the head to start. But Thomas is going to get over it.
Speaker 1:Is it right? And it was simply not clear.
Speaker 2:But it's because it's violent and it's something people don't know, but it's. But is it a little?
Speaker 1:bit of a surprise. Yes, I have to say it's a bit of a surprise.
Speaker 2:But it's a dance program with a standard use of the standard dance. Can you hear?
Speaker 1:20 years ago. Yes, I don't know exactly.
Speaker 2:No, it's really not a skit. So then it was done, but also the old experience with my father. It came more and more with that rap or rap. The more I said it, the more I got to listen to it yes. You know that. Better, don't you?
Speaker 1:It's the same thing. It's either funny if they say that you can't do it or you don't have to. I love being underdog. Yes, that's also possible. It's fun to be underdog. That's always been the case.
Speaker 2:I just love sitting on a club just playing. I don't have to come up on a 31,000-year-old stage. It's also fun, but it's all more grumpy and disgusting than I like it.
Speaker 1:So you've found yourself best in sitting. I think I'm more like you. There's a name for it.
Speaker 2:You don't know why it's called that either.
Speaker 1:It's because there's an Italian guy over there.
Speaker 2:We were at a time when we were making something on a basecamp and then we were going to cast the name Because I like Italian right and I'm called Anton. If you look at Italian it's a bit of antony. It's a joke that's really been made. I get mailed to Italy where they thank me for the name being so big in Denmark. And there's a city in Puglia called Antonelli and a porn star called Claudia Antonelli. It can't be better. No, it's not.
Speaker 1:You're a bomb in the top. You made it. You made it, glas. No, it's really fun. I think you've always been sitting back when you play drums. Have you had the best with that?
Speaker 2:I still do it's a bit like being a goalkeeper, or it's the same as being a goalkeeper. It's a hard place because it's very different. It's always the same on a football court.
Speaker 1:Exactly, it's a great goalkeeper.
Speaker 2:Is it the same with the drum player? There are two things in it. You have to have enough school to carry the whole orchestra Because, as I say, when you play drums you can't hit half the beat, but you can also take half the chord on a guitar.
Speaker 1:If you don't know the chord correctly, you can play it in a minute, and then you can play it on a piano and just put your fingers down and then you can cut it in half, and then you can just put it in.
Speaker 2:You can't hit half the beat. You can say it's either the end or the end of the beat. So it's very demanding for the self-sufficiency when you hit you hit it. There's a difference in the same thing. You can't do it half the beat, so it requires a lot of self-sufficiency. It requires a lot of. It's a bullet-based. If you put a little orchestra up here, I don't know who it was. I think I could say who it was. You are a person like that. It's a classic.
Speaker 1:But yes, that's right, yes, cool, klaas. Now you're telling me that you didn't have music at home, that you were just, but it's your turn.
Speaker 2:You have children yourself. I don't have anyone to play with. I never have any enemies. There's only a guitar at home.
Speaker 1:I've never had a friend play with music.
Speaker 2:No, that's what they have to see. That's what they have to see. It's because my father pressed me to be a rocker, physic, chemistry, mathematics engineers, all of that, and I don't think I want to press my peers to do the same, because they should press themselves.
Speaker 1:It's not normal for our generation.
Speaker 2:We don't press our children in the same way that, of course, some people do. It's also a big mistake. It's both good and bad, I think it's hard to press them.
Speaker 1:Sometimes it's very difficult to think about that. I think that's what your father is doing. How do you press them and how do you guide them? Because there's also a guide. You can help people to get involved or a child to get involved. I did it that way.
Speaker 2:I just took them out to play. They've been with me in tour buses To Helmhild. They were very small Four-year-old pictures of Anna Mone and Hugo sitting on my knee and I read stories about them in the books. They've been with me and if they caught the ghost that Thomas had for music then, they would be there. I think yes, if they were available.
Speaker 2:It means that they're just on a horse, but it's fun when Thomas and I now we're making this huge stadium. 32,000 people go to the stadium but a huge screen. That's been up the big screen with Denmark is completely different. But when we meet for a long time half a year ago or a year ago we actually sit and do the same thing we did with the basketball players. That's right, it's not different, or not? The set list with the groundflaps.
Speaker 1:No, it's still the same. It's still the same.
Speaker 2:But then I just have to say something that's also important when there's something in mind, it's gratitude To sit. I'm sitting with my best friend and we're sitting and doing it, but we don't play in Weston 5868. Or in Silkeborg Tater for 500 people.
Speaker 1:Yes 800 people, and then there could be 300 people on Weston 5868.
Speaker 2:We play for 22,000 people or Royal Arena. It's fantastic. You sit and do the whole thing together and then it's done together. Just another goal. But it's completely the same love, completely the same we're sitting with.
Speaker 1:It's fantastic, it's been 45 years. It's been 45 years.
Speaker 2:But it's a very beautiful experience. You can promise to do it. It's very pleasant, it's good to understand.
Speaker 1:It's also because you're a big person, you're your best friend and you're still 45 years old. We're great. We play for so many people.
Speaker 2:It's also happened that Thomas' music has always been a love song. He sings about love. He doesn't sing about a certain type of love song or a certain type of love song.
Speaker 1:Have you ever wanted to be a frontman? Yes, never. You've never played a song. Have you ever played?
Speaker 2:a song yourself. I've played two songs. One is on the first solo album of the album. It's pretty cool. We play some kind of wind-blown guitar You're going to play it With your whole hand.
Speaker 1:Yes, with my whole hand.
Speaker 2:And then it's on a score of 12 albums. So there's a lot of effort, but no, I love to sit back in my drum set and I love to be. You're the backbone.
Speaker 1:You're also.
Speaker 2:We're sitting down here at the museum in a small bar. When I'm drumming I sit with my back against the wall and I'm a bit he's pulling the strings. A little bit of it In the shot of Go.
Speaker 1:Is a kark sack.
Speaker 2:And then the little Italian folk are playing together. But it's a bit You're involved in playing the whole thing In a cool way when they're playing the strings. So I've never had the need to come forward. I've never wanted to, and maybe that's why I worked so well with singers. I was a singer and drummer and I've never tried to tell people especially some I can't say some ex-op-elistas who are new to the conservatory when you sit, if you've chosen to play with a singer, you'll fall in love with music. I have so much love for music that if I sit and play with a singer, you'll only be able to play the singer or you'll only be able to play the lyrics he's written, Because the lyrics are as important as the melody. If you have a message and you're using the same pop-mary and you're using the same hardwood.
Speaker 2:There's a message right but you'll only be able to play the words that come out of it. If you're playing a song called Pølle, a little gungst, then you just have to find something else to play. You have to play jazz without a vocal, and that's what you do day after day. But you just don't have to do it when the singer sings, because then you have to find all the holes to play instead of the song and lift his phrasing and everything up. And it's a very, very golden rule and, completely honest, not so many people understand that.
Speaker 1:No, but it shows a little that you're a big team player in the Netherlands and maybe that's why you never wanted to stand in front of the audience.
Speaker 2:I see music as football yes, last year and you can't just sit with 10 people.
Speaker 1:It's not possible. There should be different players.
Speaker 2:There should be one who's a hymn-mother, who's always screaming All the time when there's a bad mood.
Speaker 1:And he's always joking. School-class football is simply sport. How early did it go for you to be a good team player when you can see if I had to sing that as important as me? That's what I've had since I was a child.
Speaker 2:I was so privileged and lucky that I played with Henning Sterk. He was a good solo singer the other day and he was the drummer himself. He played Trumme Slaher. There are a lot of singers who are Trumme Slaher, marvin Gaye, steven Tyler, thomas Helmi, henning Sterk. Thomas Helmi and Sterk Justin Bieber After he sang.
Speaker 1:That's not music for me, but he sings.
Speaker 2:There are a lot of singers who sing like this Because baby, there ain't. No, there are a lot of Trumme Fills in vocals If you listen to them afterwards, and they have to sing. So there are a lot of vocalists who are Trumme Slaher, but I won't tell you that I won't let you know.
Speaker 1:You're noise, noise with Trumme. No, that's never a problem and Thomas Helmi.
Speaker 2:That's probably why I'm so good at singing with Thomas. I've never been up and down. I'm either Milly Vanillie or I'm not a sick-freighter, but you're one of them. The only one who eats his nail.
Speaker 1:Who's behind it? It's funny.
Speaker 2:It was sick-freight.
Speaker 1:Or was it red? I'm curious who it was, but the funny thing is that I can understand that it's been going well and I think it's a big part of the team and one of the big successes Thomas has with dancing. It's really important that you have someone who doesn't want to take over. You have someone who's stuck in a.
Speaker 2:I'm trying to take over the vocal on Trumme.
Speaker 1:That's what it's like.
Speaker 2:So you have to be fundamental and then you have to go back and sing and when you do that, they're waiting and they're laughing. They got their back in the back Because you press the right places. If you don't press something, you go over to a different place. No one can get out. Or you press the music away, or you press the frames of their performances. Cosbaby there and yes, exactly, it's so simple, but you have to understand that.
Speaker 1:That's because it's about the experience. You talked about, the worst experience you've had with this game. We're not going to go into that in more detail. What's the best thing about it?
Speaker 2:I love playing with Thomas Helmi Thomas has been the most wildest I've been with him since we were kids. I started playing in Copenhagen when I was a kid. I started playing when I was eight. I wanted to play with the best musicians. I was Stanislaus. I was a co-writer Bill Kroos and I was happy with that. I hope so, but I was happy to play with the worst Michaelis and the family. It was when she was trying to get out of the bag. It was better to go up and put her in the bag With a band name the worst Michaelis and the family.
Speaker 2:I was the one who gave me the offers and the books and then we had to find out the bike routes from Gangway. It wasn't my income, it wasn't Pop or anything and the music, but I got into that in my early years. It was fantastic. I got the opportunity and thanks to Bill for the gift I got the opportunity to come to Copenhagen and fight. I fought them and didn't fight, but I fought. But then I found out that there was not enough time. It was complicated to play, but I just thought it was a lie Because of the elevator. We just went down to the gym and we made three in the evening and that was Paul Thorb there, Thomas Helmy, I didn't know how much he was married. You gave him two chords. He got a text and the best pop melody in four seconds. He has a couple of balls and a jack stick in the sky In a pirate ship and then he just goes down.
Speaker 2:He's unstoppable and I have played in the USA with the biggest Mike Pocca for Toto, everyone would have been there. Thomas is a giga talent and he has a couple of balls that I have to take, but I thought it was a game of music.
Speaker 1:And then it just came to the world.
Speaker 2:I thought, thomas, if it's not so late, I was in the wild and then I came here and then you don't have. Now the whole San Salmon is set. The tour is the record we were supposed to make. I'll just get it. We have made the Dersane record. There are 35 of us, the one called the Love. If you understand, I'm alive as a farmer, and also think about me when you are. It's all filled with hits. And then Thomas just wrote four of them.
Speaker 2:But then we made it when Thomas said I do it myself. We sit with such a calm, but I can feel the resistance. Right now he's not there and we're like a mousse-trap, we're like ping-ponging up fast and I can feel that I've been privileged and that's 60 years Up there I still have a Jörn where I was privileged to be with the man. I was 16 years old. It's amazing to be privileged.
Speaker 1:It's fantastic.
Speaker 2:But I thought it was so easy to play music. We just hammered everything, but it didn't do anything. Kjerman, to come here In Sikkimhavn, there was something completely different.
Speaker 1:Then there were some new people you should work with, but then it was not the same Kjerman that we had.
Speaker 2:There was no, thomas Helmhilder so fucking awesome. He has a cast of songs that I don't know much about.
Speaker 1:I've always been a big fan of him.
Speaker 2:It can be just as fun, because he's very brave.
Speaker 1:Even in his time, when the bottle came in over the Green Concert there, I was still a fan. It was tomato.
Speaker 2:It sat on my throne a long time after.
Speaker 1:I can remember the Green Concert where we were out. There were actually bottles.
Speaker 2:And there was a summer when he saw it. He threw everything. After all, the people, Also one, two got fat in the mouth.
Speaker 1:It was all right. But where did he say the last thing? I can just remember the support. You should just say the bottle out in the boat on the side, we can't have more here. And I just remember clearly that it was simply the fun thing. And Kjerman said it's fucking awesome to stand up and get cold bottles, Cold and cold. But you know.
Speaker 2:I played with Helmi's brothers that time we were in the Ligraha-Honden.
Speaker 1:It was very fun.
Speaker 2:We played at the Ranges scene on Roskilde and opened it Like they are a big thing. Today we opened it.
Speaker 1:We played the first day.
Speaker 2:We were just dreaming. We were really excited, but then we were playing. Europe was playing after us. It was a big.
Speaker 1:Thing.
Speaker 2:And then there was Pudelrock on Roskilde. It wasn't really anything for them. We were more hip than Europe, even though it was Pudelrock times, so what's the name I can remember. They were making sound tests and then you hear this From all the guys who were playing they were playing after us and then people started to throw mud and some mattresses filled with mud and dynes filled with mud and all and food up after them, and then he was in the temple and he was still there, I don't know, it's Pudel-1.
Speaker 1:I can only remember one. Pudel-1 is the number one, pudel-3.
Speaker 2:He was just screaming. He was screaming one or the other Vanishing or saying thank you. We already had breakfast, so I think he was a bit excited.
Speaker 1:Yeah, it's a bit weird to say.
Speaker 2:It's so big.
Speaker 1:It's not really. Oh, I'm so sad.
Speaker 2:On Roskilde. I put the food up.
Speaker 1:It's not that funny. It's not that funny, claes, on the way home today. You've been in the house for 60 years. Do you die in the drums, or what do you?
Speaker 2:do. It's the worst, like Johnny Guitar Waterton, can you remember? Yes, he can remember One of the most funky guitarists but the most funky lyrics he played with Frank Saper In a funky move on stage Boom. I was also very sad on stage, but I don't think I'm playing now, no, but I'm just like a professional footballer. We can just be in the house for 34 years More. Peter Smikel he was always a drummer, he was like a goalkeeper, I was also a goalkeeper when I played football, I was also a goalkeeper.
Speaker 2:I was also a goalkeeper, I was also a goalkeeper. It's a stupid thing to be a goalkeeper. Peter would also like to play drums, but I can be a bit more upset.
Speaker 1:Yes, you can be a bit more upset. It's another career, but it's also you who have been so far.
Speaker 2:Yes, but I say that as a professional footballer when I'm in the house with the kids I live with. It's a career, so it's also easy to be upset Because you're not available.
Speaker 2:It's one thing, it's another. You know that If you want to do something, give it a go. Paul Bruns' scramble, it's a very good feeling. It's true, I could have thought that I could have done more, just sitting there in the club and playing there In the little picture trombone center, just playing what I want to do, and then I fell over there. But I don't fall over on a big stage of 30,000 people.
Speaker 1:It could be the same.
Speaker 2:It's also just a theatrical knock. Yes, I think so. I would like to die. Here I'm sitting in a row-scrolling band between my legs and then I sit on the top of the table and then I sit in a very low position and I have it in one side and then I take my lead. I have a lot of points and it's me playing trombone. Yes, it is, and it's just that when you play so many years, you have a good blood circulation Because you have so many hands. When I broke my arm, I was in Scotland the first time I played trombone, I was an Italian car-tourist. I didn't go far in the tunnel. No, it's just that I broke my arm in the middle of the wilderness.
Speaker 1:And I broke my arm in the middle of the wilderness.
Speaker 2:I have 12 screws 12 and two titanium plates. But I broke my arm the whole month. I got my six months here in Denmark. It can't fit, I get shockwave treatment. But the reason is that I never have red Because I have played trombone and small, fast movements. That's where you get the best cardio and I've done that for a long time and that's why you heal quickly, because you have the most wild blood circulation. That's right, so it's actually healthy. It was an old blood-sucking-tourist. It didn't heal so quickly.
Speaker 1:No, I think it's more in the blood. It's a little bit of a red and a little bit of alcohol, and maybe you can shoot as much as you want.
Speaker 2:But I can feel that if I don't keep my form, I get tired of playing. I haven't tried that before. And then I get down to the point where I get tired of playing. I don't have a mental health problem. I have to control my arm.
Speaker 1:No, I think that when you're out with it, it's not a company that plays with it, it's a full-sleeve, it's a full-sleeve, it's a full-sleeve and it's also healthy.
Speaker 2:It's full power and you're only on when you're playing. You're only on the back. You can also be extremely sick and you can be in some places and you take your drumstick and you're out. And then you lie down on the floor when you walk or in a stick pose. It's a second. You lie down to play the piano. It's wild, you can do that for some kind of music.
Speaker 1:Yes, it's pretty wild.
Speaker 2:It's love for music. It's something you can't let go of, so much it makes you physically sick, it's very beautiful.
Speaker 1:There's also some professional things to think about.
Speaker 2:No, I think it's because you disappear instead, because when I play I don't think about anything else. I can also remember Kerstis Kastina. I have my ex-wife, who is my mother to my child. Of course I'm out at the time because I didn't get up before morning. You can't look so Italian.
Speaker 1:And then be so much around the country.
Speaker 2:I thought it was cool, it was, I wasn't that different? No, then what's the name of it? I remember I was so unlucky. It was her I met here at the old Annabelle's. It was her I met here at the 99.
Speaker 1:I hope it doesn't give any good things.
Speaker 2:I came in with a cotton coat, which actually in August was when they said Cat-on-Croat.
Speaker 1:You came to København in that year.
Speaker 2:Yes, in that cat-on-croat or cotton coat, and there was a huge remoulade on it from from what is called a Green Concert Tournament, and she looked at it and I thought Giga kicks. And then with the bandana. It was here and then she kicked me out and I was so unlucky I think I've had a no from the past. I was 26 years old.
Speaker 1:I've never had a no. It was probably on the right time.
Speaker 2:I would be sad to have tried it myself Because I didn't know how to operate it and cap it, but that feeling of playing I could see it on the tournament analog. It was from the troubadour, from Isavn. From Isavn yes, he's a fantastic driver. Sometimes we played at night. We played at 3 o'clock because he spoke for the rest.
Speaker 1:That's what I do. Yes, you do. You speak well too. It's perfect.
Speaker 2:I remember that I go up on stage and play At the start of the first week. I was very bad when I was left out and then especially when I tried it.
Speaker 2:Because you've been over the top and then you start playing and you also take love to music. Just to say that you're getting older. It was one time when I thought about it. I was in a trombone. The next day, I was in a trombone for a year. The stage was set. The stage was set the next day. I was completely out of tune Before she came and then it started to move. But it's always been a hell of a shape when I played, and that's because I'm completely out of tune. Thomas and I have never been full of us and we're always playing music.
Speaker 1:That's what we've been doing, but I mean it.
Speaker 2:We've never misused that zone of love and we're still playing.
Speaker 1:You're talking about the.
Speaker 2:Alvoli yes, but it's the heart that decides it.
Speaker 1:It sounds a bit like music could heal something. It heals all the music.
Speaker 2:But Santana says healing is music. Music is the healing force of the universe. It brings people together. It brings people together, it makes them feel good, it makes them feel blessed. Music is the life in the same way.
Speaker 1:Yes, I agree it's the one, and only Very beautiful. On that note, maybe we should have the smell. Klaas, I have just heard the last thing I could think of. Now we talk about falling on stage, you should be the one to talk about it, one of Funky Move. One of Funky Move, Way and Move. But when you have fallen on stage and you have to dig, is there music to dig?
Speaker 2:I don't know, but I have fallen.
Speaker 1:I have fallen. I have fallen all my guests.
Speaker 2:I have fallen the Kiesen I want to be in. I have been to all the shows for 65 years. Hugo, my mother Wester Fadman, Pierre Frost there are so many that have been in the show, but then I saw a clip with him from the Pokes. What was his name? Matt Greger.
Speaker 1:I don't know if you know him he is a really Irish good drinking bowl.
Speaker 2:He came from New York. He was born in Kiesthout. Johnny Depp went to school and then there is a wicker basket. It's a flat basket. I have never seen it before. It's not like we run in Denmark. A flat basket, I think it's a wicker basket, and then I googled it and sent it to my ex-wife and my children. I don't want to run, but when I don't want to, I want to be in Kiesthout. It wasn't so closed, it wasn't like a course. Can you tell me? A long curve, isn't it beautiful? I would like to put it in, but I haven't found the music yet.
Speaker 1:But there should be music.
Speaker 2:But it's not my way.
Speaker 1:To write a song. It should be like this Maybe. Maybe, you could think that yourself. Or should it be children? No?
Speaker 2:I don't think so. I think it should be Cheat to Cheek with Louis Armstrong and Ella Le Fitzgerald. The version of Ella Le Fitzgerald where they sit in front of a microphone in the studio, the world's most sold jazz record.
Speaker 1:Ella Leuhing Cheat to Cheek, I think.
Speaker 2:It should be there Maybe Fantastic.
Speaker 1:Thank you so much for listening.
Speaker 2:Thank you for being so happy.
Speaker 1:I was very happy. Thank you for joining us at this show, the local podcast Music Mit Drug. I hope you have enjoyed the music of the Trillen universe and found inspiration for your own musical journey. If you would like to listen to today's guest list about youth songs, you can find the list on the local music podcast, spotify. I look forward to exploring more aspects of the music's leadership in the coming episodes, which can all be found on Spotify and Potty Mode. So until next time, let the music continue to be your most trusted leader. If you want to listen to good music and good music in the real world you can find the music at the Musaea Lokal right under the nightclub Musaea in Little Kingskade in the København.