
Musik mit drug
Dj Peter Visti inviterer gæster ind til en åben snak om kærligheden til musik og hvordan man bruger og nyder musikken i museo local podcasten.
musik mit drug.
Ny episode hver mandag kl 08.00
Musik mit drug
#27 Jacob Binzer
En åben snak med guitarist & sangskriver
Jacob Binzer om hans passion for musik .
Welcome to Museo Lokal podcast, thank you, and how it enriches their lives. Every week, I invite a new guest to talk about their relationship to music and how they live and influence the music Insight, inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Lokal podcasten Musik mit Druck. And welcome to Jacob Binzer yes, thank you. Better known as Kopper, maybe, or what?
Speaker 3:There are some who call me that yes, and is that okay? It's also okay.
Speaker 1:Yes, thank you Better known as Kopper maybe there are some who call me that and is that okay?
Speaker 3:That's also okay. You can choose freely. There are also some who call me Binzer, that's when they really want my attention. It's on the Old Boys' team. You know, binzer.
Speaker 2:I've played one game for the Old Boys' team. Have you, yes, in Forssø, banan? Yeah, you're forcing a banana, or what?
Speaker 1:Yeah, from a forcing banana, yeah.
Speaker 2:Yeah, one game One goal.
Speaker 3:Okay, that's a good statistic. I think so. It's 100% I think so At least what I can count.
Speaker 2:Yeah, 40 years. Yeah, with what Cups? With? Just with DRD.
Speaker 3:Just with DRD, yeah, and then all the other years that went with all kinds of others, and then all the other years went with all kinds of other things, and then it went a little different too.
Speaker 2:How the hell did your journey with music start? Is there music in your home there?
Speaker 3:is music, but not something you get overread with, no More subtly. My father, just before I was born. He was a musician student who, together with his friend Torben, took their acoustic guitars with them to concerts and played Bellman-Visor.
Speaker 1:Yes.
Speaker 3:Because that was a very good score trick.
Speaker 2:Yes, it was. It's still there. Yes, it's still there.
Speaker 3:I don't know about Bellman.
Speaker 2:No, I don't know, maybe it would be really good right now.
Speaker 1:It could be a good time again, especially at your place.
Speaker 3:Well, anyway, he played a double bass in some New Haven jazz on the abandoned house. So there was some music in it. He kept playing that New's Jazz when we were born and You're not going to play anything, no.
Speaker 3:I'm just going to play something. No so. But he also played classical guitar and my mother is a teacher and we two played a guitar and I just played the books Blowing in the Wind and stuff At the seminar. When she went to the seminar there was both Conca and Batik, I think, and all that, so you can say there was a little music around. What maybe meant the most was that there was a guitar at home and my mother had a couple of Dylan records and some Beatles records and stuff, but there wasn't that much.
Speaker 2:No, do you remember when you find it the first time or get hit by something?
Speaker 3:yeah so what I get hit by is punk, the whole punk movement yeah.
Speaker 3:I haven't. Really I've skipped it in my mind. The thing with playing it's something you can choose to do. You can choose to play football or you can choose to play music. But I've always been fascinated by music. But maybe as a child I was more interested in playing the piano. I was actually very interested in that. When I got to the place where there was a piano, I always sat down and clapped. I could always use teammates for that, and if my parents had been parents like I was in the 90s, like the others were in the 90s, then you would have sent that boy to play piano right away, right away.
Speaker 2:Yes, because he was good enough. I was good, I was interested and all that.
Speaker 3:And I can also remember that when I have Music has always had a special effect on me when I was playing something nice. When I was playing bass, I might have been a bit more of a sponge compared to other children.
Speaker 1:I was a strange person. Yes, you were.
Speaker 3:I can remember standing next to my friend at the morning song at school. We weren't interested in what morning song was. We wanted to go out and play football, but I could always guess those songs.
Speaker 3:And then I asked do you know it? No, I don't know it, no, I just sing along. So I had. You could say I have had a few ears for that. Yes, but then it was that the whole, the whole skateboard wave hits Denmark. Yes, and that was pretty cool. I just had to. And right when skateboarding came to the point, and if you were to be cool and cool on Frederiksberg C in the middle of Copenhagen, there in 1979, 80 people.
Speaker 3:Then you could buy a skateboard and have a band. So that's what we did.
Speaker 2:That's why you do it. Yes, it's funny, so that's why you do it. It's funny.
Speaker 3:So luckily we got a music teacher at Torvaldsen School called Flemming Jensen, who was an incredibly smart and nice guy who let us borrow and the pedal did it too. All the time we were allowed to borrow music places. Yes, flemming Jensen played drums in Kelt and the Donkeys what do you do?
Speaker 2:Yes, yes.
Speaker 3:I was a big band at that time, or a little before maybe, I couldn't play anything. Jesper had gone to guitar and drums, and then our friend Lasse, he had also gone to guitar and drums, and then we had a band and I played bass and sang, because that was probably the easiest To play bass there were only four of us, so we had a band and then it went from one to another and then I started to get interested in guitar and then two years later, where I had gone to guitar and everything, then I could play rock guitar.
Speaker 1:Yes, and then I was 16 years old.
Speaker 3:Yes, wow.
Speaker 1:How long?
Speaker 2:have we been here 16 years? That's just before DRD right. That's just before DRD right. That's right before DRD.
Speaker 3:And we had a new band every week me and our friends. Lasse and Jesper and Stig and Peter had some bands around and I can remember me and Jesper had a band together with Lasse, which we started with there, and our dad, another guitarist called Fredo. We had a band called Awkward Faces, yeah, and then we had a band called Rebel Rouge and that band was called Rebel Rouge. We played in Alotia, yes, shortly before they dug that tunnel under Kortskade, so it's quite legendary you could say the concert or Especially the tunnel, I'm not kidding.
Speaker 3:The concert was also quite legendary. It's a legendary place. It's not a special time, but I was 16 years old, and I was 17 years old when we played in the music café and at Roskilde Festival for the first time. It was 1984, right.
Speaker 2:Yes, it was a bit insane. And up to this Kåre. Are there any? Do you know? Is it just joy? Or do you think, okay, fuck it, I'm going to be rockstar. Or is it just something you do?
Speaker 3:Yes, when I look back to that time, that fascination which I told you about before, when I was sitting and clapping at the piano or sitting and dreaming, or there was playing something on the radio when you were swimming away in it, I also had that. Music had that effect on me which it has on people, that you get emotionally touched and that does something and I got that interest. I wanted to create that. And I remember when I saw Sots the first time, there was something very special about it and Sots' Minutes to Go was a super cool record I think it still is. And Cliché saw I completely alone in the living room as a 14-year-old. Wow, yes, I would have liked to have seen that once. Yes, it was wild right. And Ramones in 1981. No, in 1981 in Hotfellow-pillow, alone also.
Speaker 2:No, we were all in the skateboard swing and heard it yeah, cool man, and do they?
Speaker 3:get any meaning for you. It gets a lot of meaning. Ramones gets especially a lot of meaning. It changes everything. I had heard Sex Pistols before and the Clash, but then, no, it was first Sex and then I heard Ramones and that hit me, that punk pop music.
Speaker 2:it's actually yes, because there are good melodies at the same time, right?
Speaker 3:Yes it's absolutely fantastic music that so much attitude and so simple. And they've written so many pop pearls on the same four or five chords. So it's, it's Beatles' little brother.
Speaker 2:But there's something that fascinates me, at least for Elmore.
Speaker 3:It hits you and I can say that passion for hitting that feeling Is what controls it the most, because you think that's what I want to do. And then secondary Is that that Now I have to be Up and down With my new cover. It was secondary and then. But then I also had that passion for music.
Speaker 1:Now I have to be so-so up and down the mountain with my new bodybuilder.
Speaker 3:It was secondary, but I also had that passion for music also other than punk. It went pretty fast. I do that as a 16-year-old, 15-16-year-old 17-year-old, do you write your own songs.
Speaker 2:We start writing the songs together. There is no such thing as a copy song first.
Speaker 3:No, because then you're a living music artist. Punk ethics says that you make your own music and you're Rasmus' opponent and you must make sure that everything in the world is not commercial.
Speaker 2:So it's been that street credibility with being a skater and being punk and we make our own stuff and we're not just copying others. No, and you know we make our own stuff and we're not just copying others. No, it's early to start making songs.
Speaker 1:Yes.
Speaker 2:Do you remember making some songs in the beginning?
Speaker 3:Yes, it was just the ethic. That's how it should be. We write our own stuff and we just did that from day one, I mean right from the moment we made the bands where we couldn't play. In awkward phases? Yes, and that was thanks to the punk and skateboarding, because skateboarding is also creative. You can make some tricks that the others do.
Speaker 2:But there's some free play. Yes, but if you find, a trick yourself, then you win, right? Yeah, exactly. And there are a lot of things in the late 70s and early 80s with, as they say, skateboard punk. We have a lot of breakdance things. We have a lot of revolutions in ours. We're mostly the same age, right? It's a bit of our revolution that happens in there in the start of the 80's and the end of the 70's.
Speaker 3:Yes, and hip-hop was also started on the streets of New York in the last 70's. Yes, exactly.
Speaker 2:So there's something that hits you too, which hasn't been there before, I think. How do you get on? I mean, did it just start? You say you've been playing in Roskilde since 1984, where you were 16-17 years old. Yes, I was 17 years old.
Speaker 3:And we started In the fact that we have all these bands where we play on cross and cross and it's all fun and crazy and Jesper, stig and Peter had played together for a while.
Speaker 1:Yes.
Speaker 3:And then we all got the fun idea, because I had also started playing jazz and I played jazz rock with Søren Liege outside Bandhårdskolen.
Speaker 2:Okay, and stuff like that right. It's a nice school.
Speaker 3:And I thought that was interesting, that side of the music. I had also started diving into the music beyond that and then I thought I should be that guitarist who sits in the background and is good with Disneyland After Dark, and then when I'm solo I'll get up, like Jesper Thilo does with Radio 2. That was the whole joke and everything was like a joke and talk.
Speaker 2:So that was pretty funny, but you come to practice insanely much. Yes, to be as good as you are. You're perhaps Denmark's best guitarist.
Speaker 3:Yes, I don't think so.
Speaker 2:You're at least one of them. Let me put it that way.
Speaker 3:I think you are, I think you are.
Speaker 2:You're good at making things crazy early on, right?
Speaker 3:Yes, and it goes strong. I go to play and I practice every day. It's not something I think about, it's a strong feeling. I go to the game and practice every day. It's not something I think about, it's just the passion.
Speaker 2:It's just the desire that's there all the time I'm sitting with the guitar.
Speaker 3:I can remember that we met for a practice on Sunday evening. We were allowed to practice over at our club. That's where me and Jesper went At the house of St Constance Sunday evening. We're doing a new one and I have a new riff with me which we're making a new song out of. And the day after, on Monday evening, we're playing in the music cafe support to a girl band called TV Pop, a pop band there, and we have this new song we made the night before, which we made 24 hours before.
Speaker 3:Yes, we started with that in the concert Wow, so you've also been pretty self-confident haven't you? Yes, but that's what's so cool about that time and the evil that was in that punk and skateboarding. It was we do it ourselves and that's just how it should be.
Speaker 2:We just do it. There's not so many rules.
Speaker 1:It gets harder along the way, I think, but it also has something to do with that you haven't had any success.
Speaker 2:I don't know if you have success because you just think it's fun. It's success in itself. At that time, I think Absolutely, but the fact that there's nothing you can do about it, therefore there's free reign on it all. That's what I've experienced when I've done some things. It was very funny before. Now I have to fit into what I did before, or something else, or some frames. Some people have expectations, absolutely.
Speaker 3:It can be really hard, there's something you have to run up to. But I think that that quality, but I think that the degree of quality is what I think it should tell me. That's what I think I should feel. It's the same as it was then. And sometimes I think I've noticed through my career, when I've made some numbers, that I think, okay, you just right over the edge.
Speaker 3:You can feel that. But I think that's and it comes in that passion, that passion for that music that touches you and touches you. You can feel this is right, it touches me. You can also feel it when you like something.
Speaker 2:And if you can like it yourself, then there are also others who can like it.
Speaker 1:There are others.
Speaker 2:That has always been my philosophy in music. It can be that you can play it for 300, who don't think it's anything? But there will always be someone in the world who thinks it's something if you can like it yourself. Yes, that's for sure. Yes, and I'll just go back to 1984, where you say you're playing at Roskilde already.
Speaker 3:Yes, Is that when the first record came out? No, it comes.
Speaker 2:Or is it the EP that came out first with four numbers on it?
Speaker 3:The EP comes out the year after. It comes out the year after. Yes, yes, we played. There are some, we are we. The concert in the music café where we play. Support for TV. Pop is in March, a little later this year, we play alone in the music café and there is a queue all the way down the stairs and out on Maestred. Wow, and it's the first time we earn money.
Speaker 2:I remember we earned 11.000 kroner that night.
Speaker 3:That must have been really good in 2004. Wow, yes, and we play in the afternoon.
Speaker 2:And we open that scene.
Speaker 3:So it was almost not Roskilde Festival no no, but it was on the papers.
Speaker 2:It was, at least for us, yes.
Speaker 3:And I'm 17 years old at that time and then we play Salt Laird and Ungdomshuset and in Malmö and Helsingborg and a verse down in and Helsingborg and a verse down in Næstved and stuff. And so there are some record companies that are really interested, but we are some unregulated gojlers, cowboys and haloises that no one can relate to. But there are mega records. They dry well. And then comes the EP in the summer of 85. They dry well, yes.
Speaker 2:And then the EP comes in the summer of 1985. Yes, which is the first. It's the first EP which I have bought, which you bought, that time.
Speaker 1:I also bought it that time.
Speaker 2:yes, which is quite exciting because it hasn't been in my genre at that time, but I did it. I have sometimes taken pictures and sent them to Stig Jatten.
Speaker 3:You were in Silkeborg, right, I was in Silkeborg, right, I was in Silkeborg, yes, and it's funny because it could be that we got caught in the punk-environment in Copenhagen because they thought, oh, finally there was something festive and not all that depressing, a little goth-like like there was too much coming. So we were festive and then they had the opportunity to go out and throw some fads. But those who were also involved in this were people in Silkeborg and in Aarhus and in Horsens and Herning.
Speaker 2:There has always been a big D&D jam band in Silkeborg, lords of the Alders, who I think have bought old drum sets. Who are, yeah, lords of the Atlas, oh, okay, yeah, which I think has bought old drum sets and is actually on the show right now. Can that be?
Speaker 3:That can be, yeah.
Speaker 2:These white and red? Yeah, yeah, yeah, I think there's a boy from Silkeborg who has them with him. Yeah, yeah, who has bought them? They only played D&D on my old place. I had not grown up to the right stuff. I was the noise type. That's how it is.
Speaker 3:We have had legendary moments in Silkeborg.
Speaker 2:Yes, you have played there many times, both to one and the other. I have actually played after you once on Hede Rytmer.
Speaker 1:As a DJ.
Speaker 2:Where I made a remix because I was supposed to play after her of Laugh and a Half which was later released. So there's something to Silkeborg and D&D? Obviously there is, to a great extent.
Speaker 3:We're also going to play there again this year on Hede Rytmer. Yes, exactly, you're always coming back, that's how it is.
Speaker 2:Back to the old days, Jakob, how the EP and stuff like that. How's the EP going this time? Is it going well?
Speaker 3:No, it's not going very well. It's going. We're getting sold a bit to those punks. But what's in the ether? You know that well yourself. In Copenhagen it's mostly the voice.
Speaker 3:Monopoly has been used on the radio since that time and it's some real 80's pop that pumps you out. And those who? There's not really anyone who understands what we're doing. There are some really any people who understand what we do. There are quite a few. At that point we also started to tour Sweden, Finland and Norway, and then we can gather a small flock all the places we go. But we think it's fun to drink Jack Daniels, and sky out.
Speaker 3:That's what we think is really cool. And we're just happy we got out and traveled and then come and have a beer and sky out. Yeah, that's what we think is great. Yeah, and we're just glad that we got out and traveled and got a little bit of food. Yeah, at that point you still do yeah.
Speaker 1:Some of us are really happy about it.
Speaker 2:Because you're changing. It's Mega Records that makes the first EP, but then you're actually changing, but then we actually change when you get signed to Warner.
Speaker 3:Yes, first we get signed, we make two records on Mega. After the EP we make an LP called the Wild. The first two LPs come on Mega. And shortly after LP number two Draws a Circle, we sign with Medley yes, and that's when we make no Fuel Left for the Pilgrims with Sleep my Day Away, and it comes March 3, 1989.
Speaker 2:So it's actually five years. It's on the five-year day, isn't it? Yes, it's on the five-year day. Wow, you have something about March 3?
Speaker 3:Yes, because that's the day we played in the music cafe. Yes, and that day I could remember. There are no others who can remember anything dag vi spillede I Musikcaféen. Ja, og den dag, så kunne jeg jo huske. Det er de andre, der kan huske noget, men jeg kan godt huske, når jeg kom med. Så det er for at sige, skal vi ikke bare sige, så tager vi sgu den dag.
Speaker 1:Det var det vi startede.
Speaker 3:Det kan de andre kunne godt sige året før, da de spillede I Udsoen Børelgården on November 7th. But I don't remember that. No, exactly Well up to how are the first two records going? It's still underground but it's a bit of a big underground in Denmark, you could say. I remember we played two evenings in Saga in 1987. And we started playing in bigger places also in the province and we could make a real tour and start playing festivals. We also played the Roskilde Orange scene in 1986-1988. So there's a hole in the middle I 86-88.
Speaker 2:Yeah, okay, so there is a hole in between. There is a hole in between, yeah, that you have to say, and you have to say Roskilde Festival has really that.
Speaker 3:You have to say that we have really benefited from Roskilde Festival. They have supported us yeah all the way, but it goes both ways yeah, it goes both ways, absolutely.
Speaker 2:Yeah, it goes both ways, right, absolutely. They would have also had good AR.
Speaker 3:Yeah, they would have also had that again. Yeah, but it doesn't go that well with that?
Speaker 2:No, it doesn't. Are you not in the group anymore, or what the hell?
Speaker 1:No, we're not in the group at all?
Speaker 2:No, but it's a bit saddening about the age we've had, even though you think it's fucking good what you're doing there's something in it. I don't know what the hell, but the music doesn't get worse, no, and please be with that.
Speaker 3:The audience at Roskilde right now, it's the audience that simply dictates. And like at Skanderborg Festival. It's the same audience. They've just become 25 and a half years older, all of them.
Speaker 2:I think it's all sold out Before there's even a name for it? Yeah, they're all going to.
Speaker 3:That Returning Gymnastics festival For the adults? Yeah, exactly, it's pretty wild and Fred is with it.
Speaker 2:It's so nice, I'm coming there. I'm always coming there One or two days because I think it's nice and I must admit, I don't get to hear any music. No, I don't do that anymore you just walk around and snore.
Speaker 2:I just walk around and have a good time with the people. I know who I could have seen in town. They're the same people I'm with, but there must be something nice in there. Anyway, jacob, I often think about when you have a new band and when we have come a few years further. We are suddenly in the 20s and you start to move home and you have to create a life. I think, about the economy in all this. Can you live without playing, or are you?
Speaker 3:out with newspapers and things like that. I can remember I went to school. I went to HF and I had an after-school job, a project to make my pocket money. But then I actually started making my pocket money. I still lived at home, I was only 16-17 years old, and then I actually started making my living by playing concerts. My life wasn't that expensive and I didn't have that much money and none of my friends had money.
Speaker 3:I didn't go on trips or anything. You didn't do that back then, those who are of that age today they have to go to Mallorca with their girls, berlin and I don't know what the hell. But we went out to play and I also got some earplugs when I played with Søren Lie and whoever else was there, and then I actually got a little. I also played with Elisabeth Gerlof Nielsen. That's it yeah. At that time it was in 85-86.
Speaker 3:Yeah, and there, I was also A fantastic artist A fantastic artist, yes, who unfortunately left here a few years ago, yes, who was my good friend too, and we've written music together and all that.
Speaker 2:Yes, you write songs for Søsvinger among other things. Yes, yes, a huge hit, a huge hit. Yes, I keep an eye on you. I keep an eye on you, yes.
Speaker 3:You can go in and look at that while you're listening to the podcast.
Speaker 2:But it's very funny, now that you say it, that they become your good as you write music.
Speaker 3:But is that how you meet.
Speaker 2:Do you meet in a good way the first time you meet, you and Elisabeth?
Speaker 3:Me and Elisabeth. Yes, so we had the same manager or booker.
Speaker 2:Yes, but I'm thinking earlier, earlier, yeah because, yes, right, you say it.
Speaker 1:You're drinking a little water, is that okay?
Speaker 2:It fits the story, you have to do that.
Speaker 3:Yes, in fact, yes, Him there, our manager there, john Rossing, who also had Mechanics to do, who also booked Elisabeth. He also did some international concerts and he did a concert with a ska band called Selector in Salt Lake. And then they had this crazy idea to get Vox Pop to warm up for Selector. And Vox Pop was Elisabeth's first band. And that was Elisabeth in full gear, directly from West Jutland being thrown in front of the placered Copenhagen punk audience.
Speaker 1:It was such a bad match.
Speaker 3:It was the worst match in the world. There's a happy home-struck Jew with his home-struck song in front of the most ice-cold holes on earth. Yes, which is a little too cool for everything which is too cool for everything, unless it comes from Randestaden in London?
Speaker 2:Yes, exactly.
Speaker 3:And I was also with the fact that that province gorge, the post-school gorge that was on the scene, that could not be here. We started to build from the start and cast with, and cast with faddle after them. We cast so much beer after them, that they had to go away.
Speaker 2:Yes, and you were part of that. I was part of that. It was to her who becomes your good partner and, yes, how?
Speaker 3:cool. Yes, yes. Or I can say I had nothing personal to say about neither Elisabeth nor Vox Pop. No, I just think that everyone who had a little bit of a feeling with the scene should see that that was probably the worst idea on earth.
Speaker 2:Yes, but it was certainly because he had both bands right. Yes, it was one of his bands that needed to be promoted, but it probably wasn't the right place to promote them.
Speaker 3:He learned something this evening about the Copenhagen punk audience. That's what he did.
Speaker 2:I think Elisabeth did too. Maybe that's what she did. Yes, to that extent, you get to play with her for a few years, and we laughed a lot about that story all that time.
Speaker 3:I'm on her second solo album and that tour that follows that and that was in 85-86. Yes, and I found out that Apoho, that's where we always have a lot of space, that room with passion for music you have, which is the only core in the drive, can you say. We find out that we have a kind of artistic community, me and Elisabeth, and are occupied with that. We can just feel there is something er optaget af det der vi kan bare mærke. Der er noget. Vi har sådan en slags, nogle ting vi er glade for I fællesskab og noget musik vi kan lide at lytte til og en særlig følelse I musikken. Vi kan samle en særlig melankol stemning I musikken.
Speaker 2:Man må jo sige jeg holder, but especially melancholic mood in music and such. Yes, and you have to say, I keep an eye on you with my sister's finger. I might not like it If you don't know it. Don't you think you're the one who wrote?
Speaker 3:it. No, but I can tell you that I sat and wrote a melody on my standing piano, yes, at home, in my two-room apartment in Vesterbro Same year, so in 1988.
Speaker 2:I'm about to say that before you really broke through.
Speaker 3:Yes, the same apartment where I was sitting and playing Slippin' and Dayway and Girl Nation and those kind of things. I was playing that melody and then I played it and then I went out to Elisabeth and she had what was called the state of the art at the time. It was an eight-note first-text bolero.
Speaker 1:So we made a demo on that. Yeah.
Speaker 3:And then we had heard that Søs, she was going to make a record. She missed some songs and it was like let's try to write one and send it over to her. I have a little melody here. So I wrote a text to her and then we made a little demo, yeah, and little demo, yeah. And Per Frost, the special talented man who is unfortunately no longer with us. He produced together with Mads Mikkelsen and they did that really well.
Speaker 2:That's what you should say. Yeah, fantastic song. But I just think it's funny that at the same time you're making a riff for Sleeping my Day Away and then, comes this fine piano, this fine piano. And it's a very, very beautiful song, as it is, which shows, I think, some facets of you. We don't know each other that well. We've met a few times, a lot through our mutual friend Thomas Max, yes, which actually says that you've always dreamed of playing football instead.
Speaker 1:Is that right, or has he thrown you?
Speaker 2:under the bus.
Speaker 3:No, I don't know if I've dreamed of playing football, but I think it's really fun to play football.
Speaker 2:You have a great passion for football. I have a great passion for football and it's really fun to play football and.
Speaker 3:I'm very fascinated by football. Sometimes it's just like that. I'm glad I didn't choose football because it's a short career and the whole environment around football it's not the most interesting, but it's great to play football and I still get the opportunity to play some real football games. And that one there's actually a little. There's something you can experience in football games and concerts. That's a bit the same the intensity where you're really really close to the point in the nut and you don't need anything else. You're all up and running over what you're doing.
Speaker 2:Yes, everything else is still.
Speaker 3:And that's great. And then there's that in music and football, especially in improvis and football, that when you, especially in improvisational music or or the telepathic connection that can be between football players or musicians, where you don't say anything but you have a feeling, and then there's another person who receives that feeling, or you send it right into the depths, or you can feel that now we're taking the B-stripe right into it, or now we're going to bring it all the way up, or now we're taking it down here, and it can be that you just look away and knock it over two men to him who's running down into the depths. Be the thing where you just look away and knock two men to him who's running down the deep end. That telepathic interaction is fantastic in football when there are three or four players who run for each other and it all goes up in a higher unity.
Speaker 3:And that's also something you can experience in music, is it a?
Speaker 2:team effort as a band, like football somewhere, it's a lot of team effort, like a band, like football, like somewhere.
Speaker 3:Yes, it's a lot of team effort and but there you have Different people A lot, and that's football players. And we all know him. We call him a solo-cow.
Speaker 1:Yes.
Speaker 3:Him who also.
Speaker 2:Do we have any idea Of that too? I? Mean, if we just no, we don't need To mention any names. It wasn't.
Speaker 3:I wasn't out to get splitted, but yes, of course we have that and you have both, but you have to have that. You have both a Morten Nolsen and a what's it called? Mark Struedal. Yes, all those types of people, yes, there are those who simply they slide into the ball and it hits them on the knee and they go in and then they take the whole world. They take the whole world for it. And then you have those who, who carry it all.
Speaker 2:Yes, yes. Who never get?
Speaker 3:It's him who plays the most on my field.
Speaker 1:He never gets the right credit. He never gets the right credit. He never gets the right credit.
Speaker 2:No well, he's in Europe with all the balls and he plays all free, but he's, it's not him they look at first.
Speaker 3:No but.
Speaker 2:But I'm thinking there might be some similarities in that with a football team and a team, because you have to have someone who makes it's hard work and now you say it's a short career in football, but you've been together for 40 years. I think it must have been hard for you as well. It's been insanely hard, but at the same time you also know that it's the same. We're good. There's also something about a team. It can be that I can achieve a lot myself, but I can achieve more despite the fact that I have to be part of the assailant's narve or whatever it might be.
Speaker 3:Exactly, and there you have to respect that. There is what we do. It's only us four who can do it and we have to be together if it has to be like that. It can also be that there are some people who do more of the one and some who do more of the other, but it should be Deep down you can feel that we're all in agreement, that if it's supposed to be something special, then we have to lift it together. Yes, I'm actually very, because I've also played football and because I'm like that as a person, I'm very much a team player and when I played, when I was a football player, out in the FB then I was also the head of the team and I was like Are you also DDD?
Speaker 3:I mean maybe To introduce on a football team when there's a discussion with the judge and there's a crisis, then it's me who does it and when things are about to come together. And when it's the advocate who rings, then it's also me.
Speaker 2:That's also in our setup, then it's also me, then it's also you. Unfortunately, it exists. I could actually understand that.
Speaker 1:You'd rather be Mark Strudel, right, I'd rather hit my knee and then I wouldn't take it.
Speaker 2:I would very, very much like to. I've researched it a bit and I've followed it, and then I also have some stories for others and there could be things that I ask so you can say if it's right or not. But there is a story about it, or a story about it. It's commonly known that in D&D you drive in four cars when you go to a concert. Is that right? It's commonly known that in DAD you drive in four cars when you go to a concert.
Speaker 3:Is that right?
Speaker 2:That's right yes, how can that be?
Speaker 3:I can say that straight up to you. It's because I'd like to have started that trend.
Speaker 2:Really yes, okay, I didn't know that. I didn't know. That's why I asked you.
Speaker 3:No, but I haven't finished or in some way hidden about it. We play so much, and we have played so much for many years. So when I'm together, when we're together, then it's work for me.
Speaker 3:And then I can have more free time. If I have to play in Jelling, as I'm going to do in a moment, then I have more free time. If I have to play in Jelling, as I'm going to do here in a moment, then I have more free time. If I myself drive back and forth to Jelling, if I have to meet my bus in the Lurblæseren and wait, for the one I also had to wait for 26 years ago and 37 years ago.
Speaker 3:Then I become completely green in my head before I even play a tone.
Speaker 3:So it's really well disposed that you're not more together than you should. And, as Benjamin Koppel said to me he heard it said, formulated very clearly from an old jazz musician, namely one of the Brecker brothers there who he plays with regularly said use the community on the stage. Yes, funny, right, yes, yes, that's fucking well. Said Absolutely, because you've thought about it. Often. You don't have the courage because of the community, the society, etc. But when you play together, you have to use the positive energy on the stage. Yes, you shouldn't use it to sit and get smashed up in the head by someone who should have done it In three and a half hours in the bus?
Speaker 3:Yes, who came too late and who also went to piss on the first tank that came and bought that bag of oysters? Yes, because you've already done that well, so that's why. But I was actually all the way up in the zeros. I can remember when I was on tour there. There we could actually find out to have just a station car right in the band and then we switched to driving around Denmark. We could agree that we would meet in the lobby at 11.30 and then we would drive on to the next show and then we switched to driving.
Speaker 2:But we can't do that anymore and that's also fine enough and the energy hasn't gotten better, or is it more work? I know there's still a lot of passion for music, jacob. I'm all for it and that's what keeps it going. I'm all for it. But is it work Like?
Speaker 3:for real. It's work and it's been also a job many, many years ago. But I would say the social part of it and the fun part in our case, I would actually say it was held unnatural for a long time, yes, and at a certain point we have to say we need to see something else. Yes, a DAD and the other, but it's a little bit of a hell of a deal.
Speaker 1:But those who need to see something else and just take a nap and see something else and never get on the table and not drag each other up, it's actually those who have the hardest time saying use the same ad on the stage but then I say use the same ad on the stage and then I see, oh so I'm on stage, and then I go ahead as a good example and say now I don't want to go with you anymore because I don't want to sit and listen to your whining and your stress and your piss.
Speaker 3:I'm going to explain my personal piss and then meet up and work, and that means that you have more work to do.
Speaker 2:Yes, because I experienced it myself. I experienced it myself a few years ago at Hederytmert, where I was supposed to say hello to Stig and Laus, as I knew I didn't know you, I didn't meet you at that time and then where I said it's DAD's car to Oliver, who said car, well, they have their own car. And I thought so. It was very funny to hear that. What it? Is that makes it is that it does that that you say we'll see each other almost first on the stage right. It's impressive that you can.
Speaker 3:We have our car, and sometimes there are maybe two. I can take Lars with me sometimes, then we can sit and talk about football, but otherwise we have as a rule two backstage rooms to share but yes, room to share, but yes, but you don't want to. And instead, of believing that everything is pot and pan and delicious and piss, then you have to say it's not. There are some who behave like some spoiled primadonnas, and that's something I don't want to be exposed to, but it also has to do with that.
Speaker 2:you've become a grown man, so you also have your own specialties, which you'd like to. Yes, you can do that, I'd like to plan it completely. I'm not asking for it at all. I had one thing I'd like to ask you. We were out one night where we were full-time somewhere and someone asked you about something I thought was completely interesting. It was actually a nice place that we went to, down from a restaurant who asked if it was true that you'd never played the same solo ever.
Speaker 2:Yes, you can talk about the basic tones, but the fact that it has never been right after the record or something.
Speaker 3:No, and that comes back to the background there with the ethics around it with that. You write your own songs, you do things yourself. And then the ethics in that jazz rock and I also played that was improvisation music and you could improvise. You're not playing a solo, you've introduced. No, that's completely misunderstood, because that's so that ethics and tradition I've taken with me as a musician Wow. And then you can say no, I never play the same solo, apart from when it is. It should be the same solo, no, no.
Speaker 2:There are also some riffs In the solo that should fit.
Speaker 3:Yes, and then there should be, but there can be. There are some solos that are Composed as a melody and I play them like that, but those that are improvised as they are improvised on the records, I play something different every night. I've never played the same solo in a rim and fell.
Speaker 2:No, it's not like you've thought. Oh shit, this evening it sounded good, I'm going to play it like that in the morning. No, no, I've of course, listened to it every night, but I think it sounded good in the evening.
Speaker 3:I have to play it in the morning. I listen well every evening. But as a soloist you have to be able to take that risk and improvise. And then it's better or worse.
Speaker 2:I think that's right, but I think it's interesting to hear that you it's 40 years we're talking about. I don't dare to think how many jobs there are in 40 years that you don't like to think. Ah, now I play it in the evening. I'm a little down in the evening. I play it just as it is on the plate and then it should be good for that time.
Speaker 3:But that can also be. But you can't do that in those solos that are long like Grow Up Hell or Sleep my Day Away, because they're long and are pulled out. And it's a bit of humor, and Lausen comes from playing jazz and jazz rock and that's super cool because then we can go somewhere else Either one night or we go somewhere else the next day.
Speaker 3:And then there are of course those combined melody solos and for example, our new single called the Ghost. There is a composed solo before a song and at the end of the song and we've played that number maybe to three concerts now, and then I play it, which I've composed to the song, because it's a kind of singing with melody and I think I'll actually keep up with that. But then there are some other, a kind of sing-along-with-me-believe, and I think I actually will continue with that. But I mean, there are some other songs where there's not anything written. So I just have to find something.
Speaker 2:Yes, it comes to you by itself.
Speaker 3:And I think it's part of it and it's also a way that I just take it easy, for I have the opportunity to that, for that it's where you really live and are at. And there you go again with football. You run up on the right side and you have the ball and there's a man on the way towards you, or maybe two, and you can see over to the left. There comes the other team and he runs up and you have to get rid of those two men and you have to throw it to him. How do you do that?
Speaker 2:Well, there are scabalon exercises for that kind of thing, and then there's him who finds something along the way. So it's a little the same. Well, you're right, I'm going out to see you play football today. I can see.
Speaker 1:Out on. Amager, what's it called Out on?
Speaker 2:Kløvermarken.
Speaker 3:It's empty, I promise Well.
Speaker 2:I promise you, I think so. I see pictures every day because I'm in the same group when you've played. So it looks nice. Yes, it does. You've also produced for other artists.
Speaker 1:Yes.
Speaker 2:How is it in relation to being the one who stands out on stage and such things?
Speaker 3:It's an incredible. It's in many ways an relief to get such a casket, if you have. I've tried to be a producer on some record and then I've tried to write some theater music, yes, and then when you get such a role, you get a casket, and then you only have that casket.
Speaker 1:Yes.
Speaker 3:And then when you get such a role, then you get a casket, and then you only have that casket, and then you don't. I mean in D&D you have to do it all, and from top to bottom, up and down, and then the whole thing rolls, and then the lawyer rings and it's you who takes it.
Speaker 2:we know that now.
Speaker 3:But if you get such a casket as a producer, then it's a very limited.
Speaker 2:It's more of an assignment.
Speaker 3:It's a limited assignment and I think it's really nice, because then there are others who have to take all the administrative responsibility. And then I just have to take care of that assignment. I think that's really cool.
Speaker 2:Are there two theatre pieces? You've put music to.
Speaker 3:I've put music to. There have been some small assignments over time, but the last thing I've done which I've written music for in two seasons was a piece on Sorte Hest called Allting er noget, with lyrics by Naya Marie Eid.
Speaker 2:Where you wrote new music for.
Speaker 3:Yes, where I wrote music for that sub-music and a single song, and then it was re-written and I wrote a little more for it and that was a very remote task with people I know. So that was you can really dive in and concentrate on a very specific area. I think that's really cool.
Speaker 2:Yes, because there must be something in that. How do you write a song in D&D? Do you come up with a little of each, or are there people who come up with the whole song, or how does that work?
Speaker 3:It's very rare that there are people who come up with something that is close to finished. That has actually never happened, I think.
Speaker 2:I've heard a story was it in a podcast? I've heard, maybe where Laus once sent a song around that was completely finished. That no one yeah that's right. Yeah, no, that wasn't of interest to anyone.
Speaker 3:No, because if it's a horror and it doesn't sound like D&D, then what the hell can you say about it? Yeah, that's fucking hard to say, but then but he has sent something around here recently to the last record here, which has become something.
Speaker 2:Yes, yes, well, it wasn't because he didn't send it.
Speaker 3:But it was just. I can only remember.
Speaker 1:It was like he had sent a whole song and no one had responded to it on email and there were no one interested in hearing about it.
Speaker 3:But we have all tried to come up with something that hasn't been responded to yes, we have, probably all done that in and it's the creative development is a landmark and it's not for small children. And it can almost not be different, because you are sensitive about what you come with and then you can be accepted well or bad, and the others can have a good day or a bad day, but there is a basic principle that you there is a basic principle of giving things the chance?
Speaker 3:Yes, and we come as a rule with. I come, for example, with an A or B piece which is skits on. It's two riffs or something, Then you can try it and it can be separated. It can be a number, it can be that it's put in a bunker and then Stig comes with. He comes with one riff. And then we play it, and then it can be that you take one of the pieces that were in the past and try it together with that.
Speaker 2:So it's like a building process. Yeah, it's Lego-class.
Speaker 3:And then the song is called I Want what he's Got from the previous album. I mean the previous album. I had made those two riffs. Yes, but Jesper suggested that it should be a shuffle. Yes, he said do-do-do-do-do-do. Okay, fine, then we'll do that. Yes, yeah, there's nothing else for it. And then Sometimes you have to admit that the other one is right, and that can be difficult.
Speaker 2:Yeah, that's hopeless there are no others interested in that? No, but that's the process on a team that DRD is also.
Speaker 3:And we don't have In football. It's so fucking smart that there's a coach and he sets the team, he decides the tactics.
Speaker 2:We don't have one like that. No, it's a bit like he's a judge or a coach in a paint instead of a coach, and that's what's overflowing.
Speaker 2:Yes, I could imagine that I could just think about listening to a little about it, because I actually don't know it, but I can remember reading about it Because you're on your way to the USA at some point, or you are in the USA and you have a huge hit with Sleeping my Day Away, and then comes the next album that will be signed in the USA. Yes, where you're in the early 90's, when you really have to. Am I wrong? No, you're right, and MTV is on and they want to play Bad Craziness.
Speaker 3:Yeah, you're looking at me like I'm no, no, but I know you're absolutely right. And the story is so far that we got a record contract with Warner Brothers on two records and we got it on the basis of Slimmer, day Away and no Fuel and then we made Risking it All, which came out in 1991. And we are also in the USA on Promotor in New York with Warner Brothers Brothers and did some interviews and we can feel there's not the same interest as there was on the record before. Okay, we can feel that. Okay, we weren't that much interested in the restaurant and all those rock records.
Speaker 3:No, they look elsewhere than in our genre and we're going to sit and watch the premiere of the Bad Craziness video on Headbangers Ball at Peter's place in Vesterbrogade. The person who was in Headbangers Ball, vanessa, we had met a few times and she had promised us a new video. It's going to be premiered on Headbangers Ball and I'm going to make it especially good for a new video. It will premiere on Headbangers Ball. I will probably make a very special. I will make it very special for a good premiere. You will probably get a good place there.
Speaker 2:Which has been important at the time, because MTV is huge.
Speaker 3:MTV is simply that's where we find it all, and Headbangers Ball. That's where you would have played your music if you were a rock band. Yes, we set up a table with brown beer and coffee and it's Sunday evening. Are you ready to enjoy it? Yes, of course. Now we'll see. We'll start Headbangers Ball in a bit and then Vanessa will come and say yes, now we'll hear your new song, but first we'll hear this new song by Nirvana's Metal String, teen Spirit, and we thought we were going to sit and watch it as a first.
Speaker 1:Yes, yes.
Speaker 3:Then Nirvana's Metal String Teen Spirit comes on and I lose my nose. Yes, I mean, and I can feel it. Now the new wind is blowing. Yes, and it's so insanely good and it just sits right in my eyes and it's so insanely good and it just sits right in my eyes. And it's so red and so good, yes, and a whole new sound. And a whole new sound and it's really rock and it's punk and it's just awesome. And then our children's team comes. It's a cartoon, isn't it?
Speaker 2:There's a cartoon and a ducking film and we jump around on a stage.
Speaker 3:That's a bit funny with the gravity and stuff and it's also funny, but you can just see it wasn't where the rest of the world was right now, was it? There was USA, wasn't it? No, scandinavia was there still. Yes, yes.
Speaker 2:I'm not saying that because I don't know. It succeeded anyway and it's going to be a big record, but it's just funny. You're actually standing for a huge break in the USA at the time, isn't that what?
Speaker 3:you're thinking, yes, but there was a huge break. We hadn't had our fingers in the mill over there and noticed that we had continued. And you can't do that. But you also have to think about it was a different landscape. Yes, in that time. Today we have 4.836 Very large subcultures.
Speaker 2:Yes, of music, yes, and we should also Look at each other today.
Speaker 1:Yes, I think, because we are fed up.
Speaker 3:Every second With things I said and all the time, yes, and today it's just as good as much If you come. Hver sekund man tænker saget alle steder fra, jo, og I dag er det jo fuldstændig ligeglad, lige meget om man kommer fra Ghana eller Polen eller Argentina. Ja, man kan sagtens få et hit, præcis Den gang, så kunne man kun komme gennem England og USA. Ja, det var helt umuligt at få et hit, et verdenshit. They were first a hit In Denmark, but they didn't become a hit In their home country, sweden, before they became a hit in the USA.
Speaker 2:No, that's something we have in Scandinavia and a lot in Denmark we love. If people have done it outside, then we can really like them at home. But that's not something we ourselves experience. I don't know what kind of mentality we have. How do you tackle that? But it's not something we ourselves experience. I don't know what kind of mentality we have there.
Speaker 3:How do you?
Speaker 2:deal with that.
Speaker 3:When we sat and saw the Nivane video, I could feel oh for Satan, there are new friends here.
Speaker 3:And at the same time it became our biggest record in Scandinavia, when all of Scandinavia's tours were sold out and we're around all over Europe, but the USA, it's dead. Yes, and I remember we just started our tour In the UK. We played in Edinburgh, I think, yes, on the first club kick there and down the road we played. It was shortly after Okay, they played at a A little bigger place Down the road Nirvana was supposed to play. It was shortly after we had seen Okay, oh shit, man, they were playing At a slightly bigger place Down the road, yeah, and of course the banks were sold out Right that same evening, so we couldn't even Go down and see Nirvana. No, and it was nice With people with us, but down there it was sold out it was a shitty band.
Speaker 3:Yeah, I'm so tired of the band, but there you just have to say there are things you become that's also the cool thing about music and there's no one. There's something that comes that says something to people. That's what. You can't figure that out.
Speaker 2:And luckily.
Speaker 3:You can't figure that out? No, you can't, and fortunately you can't. I mean, there was no one who thought that Sleepin' on a Day Away no Feel Left for the Brick Brim was going to be a popular record in Denmark.
Speaker 2:No, it's a huge, huge record yeah and it, but it was. Yeah, but it's also a new kind of music in the music industry. Yeah, but it's a new life you're creating there. Yes, because there's more rock than what do you call it? That co-rock, which is maybe a bit in the beginning, or at least there's a bit of Django guitar and stuff and a bit of country in there.
Speaker 3:Yes, but the first two records were more revue. And then we made with no Fuel. We turned into a character. It's a really a real rock record or what do you want to say and there came music in there and that took Denmark to us, that's for sure it was one we hated as DJs Because they wanted to hear it in everything.
Speaker 2:And then House and Acid that just came and we really wanted to play that. But they really wanted to hear Sleeping Maday Away and it was close to impossible to dance to. For me everything is impossible to dance to, but it was hard to put in with all the other things. So that's how it was. What's going to happen in the future? It's 40 years now. With D&D. There's a huge show. You're starting a tour, or at least you're up to it right now.
Speaker 3:Yes, we just started here on Sunday, yes, with a concert At a festival Down in Germany. So now we are Starting.
Speaker 1:Yes.
Speaker 3:And and now we have Sent out the first two Songs from the new album Are sent out Online.
Speaker 1:Yes.
Speaker 3:And the whole album Will be released in October. And so, yes, send out online, yes, and all of it will be released in October. And then, yes, yes. So on the short track, the immediately short track, it's a summer tour and a record release and then a tour on the background of that record, and it must like to hold a couple of seasons. Yes, that's for me, yes, and be played all the way through, because the previous record died with corona.
Speaker 3:Yes yes, and then we didn't. You never really got out and played with that record. No, we reached one summer and then when we were about to play Royal Arena we were locked down.
Speaker 2:Yes, exactly, big time right, it was awful yes. It was awful.
Speaker 3:So it was really sad and what about yourself?
Speaker 2:Are you still writing songs for others? Is there anything else that's happened to you personally?
Speaker 3:I always write also for outgoing. I have a couple of ideas Now. It was sad with Elisabeth.
Speaker 2:Yes that must be.
Speaker 3:Because we were actually starting with something Is that right and we have written some songs that are finished. Wow, it's an artist I've loved a lot, so that was a shame, but now there's nothing else to do. I have to finish this project. Yes, so that's a mission. I have yes as a solo project. No, so that's a mission. I have yes as a solo project. No, I have to find someone to finish it with yes, and then we take that role a little bit and then we finish it.
Speaker 2:Simon Jacob, are you such a big fan of the band?
Speaker 3:that there's never a solo album for you. There's not a solo album in the way that I sing a solo album. No, there's maybe a solo album in the way that I write the music, and then there's another one that sings.
Speaker 2:Or different artists, and it could be.
Speaker 3:For example, it's maybe so close to me that I come up with a solo album. It's such a project there, when I was in touch with Elisabeth, where we sat and I wrote the melodies and she wrote the lyrics.
Speaker 2:Is it the desire that lacks to be artist?
Speaker 3:No, but if I were a solo artist then I would be a guitar solo. But I can best like music. I would like to have vocals on that. I can like.
Speaker 2:And it's just funny because you're always it's your brother who's a foresinger in the band. We have Stig who fills a part on the side and.
Speaker 1:Melauz, he fills a part as well. He fills a part, he fills a part.
Speaker 2:So you are. I understand that you are the leader and the diplomat, or whatever we should call it who has to hold it all together. Can you best like that role? Is there a bit in that as well? Do you understand what I mean?
Speaker 3:Well, now I have. It's also about what you, what can you find out?
Speaker 1:Yes, yes, yes.
Speaker 2:And it's also that Now you're coming from a point where you can find out everything you can find out everything.
Speaker 3:You just do it?
Speaker 2:Yes, that's right. So have you affected it a little with Helen or?
Speaker 3:what? No, I mean, it's also the context you're in. I can remember that. I mean if you're in a context that only consists of reviewers and peddlers then, you're a very, then you're a very exuberant whiskey-drinking rock star. All of a sudden, that role can be quickly given in another context. So, it's a lot with the context you're in, but it's also something Because there are no others who take that Jofrol in DAD. It could well be you yourself.
Speaker 2:I just mean that I, for example, now as DJ, there you are, but I've always had it best To be a little behind. I've never tried a big scene. I've played a really big festival, but I've never changed. I'd rather care about a big stage. I've played really big festivals, but I've never changed. I'd rather be in a small dark place and play or something so it could be that you say it's very nice.
Speaker 2:I have the other three in D&D, but it's not me who should be in front of singing the songs, as you say. You did say I became more interested in playing guitar.
Speaker 3:You can say and it also, it fits me, maybe to my business, it's nice to play guitar, but I can be a guitarist and go all the way up the ramp, yeah, that I'm in on and I can actually also I can also, you can say, an ego that needs to be filled up.
Speaker 3:I can't just stand on a big stage and stand in front of it and be a guitar hero, and I would also like to be aware of that. I don't have to be aware of, I don't need to be public or participate in everything else or in some way personally become.
Speaker 2:It should at least be something with what you're good at and what you're doing at and what you do.
Speaker 3:I set the professionalism first, and when I think I have control over it, then I will. Then I would like to be big and nice and beautiful.
Speaker 2:Fantastic. Last but not least, I have asked everyone If there should be music for your performance. Have you thought about it?
Speaker 3:There should be music, om der skal være musik til din begravelse. Ja, har du tænkt over det nogensinde? Ja, men der skal være musik. Og hvis man nu var rigtig selvhøjtidelig, så kunne man vælge Det er de andre tre ikke I baghænden.
Speaker 2:Det er ikke dig vel.
Speaker 3:Nej, nej, men altså, jeg synes man skal, man bliver nødt til at fejre. No, but I think you should. You need to celebrate life before you mark death. It should be a celebration. It should be something uplifting, something life-enhancing. Yes, when my father died in 1919, we played Cornelius Friesvik. Yes, that's absolutely fantastic. When we kicked the church out of the church. Yes, and it's so early and a show you know. Yes, and the neighbors yes, so I like that close. Yes, so I can really like that atmosphere. Yes, it can't be something? You could play Samuel Barber and Darshow for Strings, for example, which is the most serious music in the world.
Speaker 3:Yes, and everyone will sit and think they shouldn't right, they shouldn't no.
Speaker 2:They're not supposed to.
Speaker 3:They're not supposed to. It might be a bit silly, because there's no reason to. Life is tragic in itself.
Speaker 2:It must have been tragic enough before you died.
Speaker 3:Yes, we have to go that way. Yes, unfortunately.
Speaker 2:Unfortunately, we're unfortunately the generation who can't save eternal life. I think, yes, exactly. We are unfortunately the generation.
Speaker 3:They can't save to eternal life. I think, yes, exactly, I don't know what, no, but there must be something. There must be something cheerful and something festive and something near.
Speaker 2:Yes, well, fantastic. I'll just say thank you so much because you're welcome to be with us, jesper. Jesper, I'm just about to call you now. No, how nice, right? Yes, I would just say Thank you so much Because you liked being with me. Jesper, I'm just about to call you now. No, it was nice. Yeah, it was great. It was fucking great. Otherwise, it was good.
Speaker 3:But you clicked all the way there.
Speaker 2:I can still cut it. Yeah, you can, so, jacob. Here to you last, I would just say Thank you so much Because you liked being with me.
Speaker 3:You're welcome.
Speaker 2:Thank you for listening to this week's Museo Lokal podcast, Music my drug. I hope you have enjoyed the music's fascinating universe and found inspiration for your own musical journey. If you want to listen to today's guest's list of songs, you can find the list on Museo Lokal's Spotify list on Spotify. I look forward to exploring more aspects of the music's knowledge in the coming episodes. That can all be found on Spotify and Podimo. So until next time, let the music continue to be your faithful guide. Thank you.