Psychotronic Love : The Neon Sounds of Laserblast

The 80s were a perplexing time, man. The 70s really screwed us up with its indifference, key parties, and Hal Ashby films that by the time we hit 1980 we wanted to somehow get to the future as quickly as we could. We plastered fake smiles on our faces, wore neon colors, sweetened our sitcoms with mountains of saccharine, and we began the process of taming electronic music. Those heady synths that were being used to melt minds and transcend how we view the world in albums by Tangerine Dream and Popol Vuh were being used to create more mainstream sounds.

Electronic music became a little more light-hearted and welcoming. It could be grating when laid on too thick, but when there was just the right amount of romantic sway and minor key melancholy the music was quite amazing. The synthwave scene is a musical planet where the synth is using its powers for good, not evil. These aren’t horror soundtrack nods, but a tip of the shiny hat to Mad Max b-movie rip offs and exploitation space flicks. Bright and colorful Saturday morning cartoons and video games.

Danish band Laserblast are giving props to the decade of Reagan and Thatcher by honing their own sequenced 80s soundtrack with lots of hardware and space age vibes. Their music puts me in mind of Le Matos and Com Truise, but with more of a softer edge. Not so heavy on the deep bass and more concentrating on the whimsical aspect of 80s synth. There’s a sci-fi vibe that is more along the lines of adventure and thrill seeking than those darker tones a lot of synth music as of late wants to capture.

I spoke to band members Kristoffer Ovesen and Mie Jakobsen about how the Danish band got started, their influences, and what direction they want to take the band.


J. Hubner: So who is in the band?

Kristoffer Ovesen: We started out as Mie Jakobsen, EmileLouise Nielsen and myself, but after finishing the tape Emilie unfortunately had to leave us, due to lack of time. Emilie and I have been playing together in various projects for more than ten years, and she has taught me almost anything I know about sound synthesis. I first saw Mie play at an art gallery where she and Jannik Juhl, (who produces under the name Giedo Primo, as well as runs the record-label Hamarplazt) were doing a couple of impro live shows.

J. Hubner: What other band s and projects are you two involved in? How did you get started in music?

Mie Jakobsen: For me everything started when I joined musician Ras Bolding on stage. Through him I met great friends including Kristoffer and Emilie. Emilie wrote me and asked if I wanted to be a part of an Italo Disco/synthwave/80’s music project, and since I’m a big fan of these genres, I couldn’t resist.

Kristoffer Ovesen: Besides Videodrones and Laserblast I’ve done two tapes of quite repetitive techno under the moniker Metis, as well as worked with Danish performance artist Tine Louise Kortermand on several projects and done chaotic industrial-acid-techno as a part of the duo Selvmordsskolen (The name being another movie reference, it’s the title of a weird Danish comedy from the 60’s and translates School of Suicide.)

J. Hubner:  Being quite familiar with Videodrones, Laserblast seems on a completely different music spectrum. Very 80s vibe. Has a synthwave feel, as opposed to the darker tones of your other work. Who are some of the influences on the new cassette release? At times I’m reminded a bit of contemporary artists like Com Truise, Nightsatan, and even Le Matos.

Kristoffer Ovesen: Yes, we definitely strived for a more romantic and uplifting feel, than what I’ve done earlier. For us to find some sort of common ground, I had to move into a (to me) new territory, a handful of early sketches I did for the project was actually turned down by Mie, as “sounding to much like a horror soundtrack” Ha! For me Tangerine Dreams 80’s soundtracks was a big influence while working on the tracks. Risky Business, Near Dark, Miracle Mile etc.

I really like a lot of new synthwave, the combination of modern software and production techniques together with the 80’s synth sound is very inspiring. When we got together for this project 6 months ago my initial plan was to tap into the more clubby sound of Kavinsky and Lifelike, inspired also by the italo-disco of Claudio Simonetti and likes (especially a lot of the soundtracks for Italian post-apocalypse and Mad max rip-offs. Great stuff!) Quite early the projected drifted into a dreamier territory, though. Probably due to the way I produce, more hardware, less software, a lot of the techniques to achieve the more modern aspect of the harder, pumping sound of Kavinsky for example acquires a lot of software use. Listening to the completed tape, French act College might be our closest reference on the contemporary synthwave scene.

Most importantly I think the artist mentioned helped pave the way for both Videodrones and Laserblast, in the sense, that had it not been for them (and Stranger Things and Refns Drive, of course), I’m not sure many would care about what we do. Right now, it seems like people have been “conditioned” to this sound, but I’ve got a chilling feeling, that 5-10 years from now, people will want some sort of glitched out digitally shit or uk-garagy chip-munk hell again. I’m just gonna jump the wagon while it lasts and exploit the fact that 20+ years of collecting and watching 70′ and 80’s exploitation/sci-fi/horror movies, finally has some sort of relevance outside of geeky collector circles and xeroxed fanzines (even though I love both!)

Mie Jakobsen: I’m probably the one who’s been dragging Kristoffer in a more funky direction. Besides the earlier mentioned bands an important influence for me is music I would enjoy listening to in an airplane, looking down at the clouds, or the great tunes that makes my bike ride just that more awesome.

J. Hubner: What’s the songwriting process like in Laserblast?

Kristoffer Ovesen: Most tracks started out as a very minimal sketch bye me. A beat, bass-line and maybe and arp or some chords. Mie and Emile would either make alterations or just play on top of that.

J. Hubner: Let’s talk gear. What hardware are you using in Laserblast?

Kristoffer Ovesen: We sequenced the synths from my PC in Reaper and recorded back and mixed in Reaper. All beats are sequenced and played from a Korg Electribe sampler. It’s kind of outdated, but it has been with me for a long time, and I sequence beats relatively fast using it. Most drum sounds were samples from the Akai XR10. Everything else is either the Roland HS-60 or my modular. I’m not into soft-synths, really. I dig the concept and the sounds, but the work process bores me. I like knobs, cables and sliders. Both Mie and Emilie used soft-synths while composing some of their parts, but those tracks were all re-recorded later using the before mentioned gear. I mixed the EP using a minimal of plugins. Just EQ, reverb and some delay. We were running a tight deadline, as Mie left for Australia in October, there was only 6 months between our first meeting and the finished tape, so things has been moving quite smoothly.

The guitar part on the last track of the tape, Videovold, was played and recorded by Jens Hollesen, guitarist of Danish heavy metal band Death Rides a Horse (yet another film reference) and was also the final track added to the mix. Jens knows his film history and is well into Jan Hammer and 80’s Tangerine Dream as well.

J. Hubner: I really dig the artwork on your new album. Was there a concept behind it? Who created it?

Mie Jakobsen: While Emilie and Kristoffer are the masterminds behind most of the sweet bass-lines and spacey leads, I’m the one who made the cover art. Using 80’s sci-fi cartoons, Blade Runner and of course the music vibe as inspiration, Kristoffer thought a robot/laser girl would do well on the cover. The original idea was to match the color of the tape and the cover, but since we couldn’t find a pink paper good enough, we tried out a few different other colors – which is also the reason why the tape comes with two covers (the lucky owner gets to choose for himself whatever is preferred.)

Kristoffer Ovesen: I’ve been into comics since I was a kid, especially what you would call “graphic novels”. Will Eisner, Richard Corben, Moebius, Milo Manara etc. Especially the more psychedelic, weird ones caught my attention from a very young age. We were well into recording the first tracks, when I first saw Mies drawings, but from that moment it was pretty clear to me, that she had to work out some sort of visual concept for the band. The girl on the cover, I imagine as some sort of intergalactic agent. She started out as a sketch, and since the completion of the tape Mie has been sending me more drawings of her, so we might end up developing some sort of concept/story around the character. It’s a great inspiration and I like to work with some sort of concept when producing, whether it be aesthetically, thematic or technical to give you some sort of direction or framework.

J. Hubner: Can you tell me about Interzone Tapes, the label you released the cassette on?

Kristoffer Ovesen: Interzone tapes is my own label. I started it in 2013, mainly as a vehicle for my techno stuff, but since then I’ve released a handful of other artists as well. It’s very DIY, I enjoy making everything myself, including xeroxing covers late at night at my girlfriend’s workplace or recording all the tapes myself on a Tascam double-deck. I do very limited runs (20-50 tapes) and have no professional distribution, as this was never intended to grow into a bigger label. I’d rather keep it small, and release whatever I want, whenever I want. I’m definitely not “label-boss material”, but running Interzone Tapes gives me a perpetual motivation for moving forward creatively.

J. Hubner: So do you record your albums to tape? Or do you record digitally then transfer to tape?

Kristoffer Ovesen: We record digitally. Working with a hardware only set-up for the sounds, the further addition of an analog stage didn’t seem necessary. I do drive the tape recorder into the red to add a bit of tape saturation/compression during the recording of the tapes on some releases. Mainly techno and harder material. The Laserblast tapes was recorded quite conservatively to preserve the dreamy qualities. I’m no tape expert, so all of this is also a bit of a trial and error process and might not all be according to the books….

J. Hubner:  I think the cassette is great. Much like listening to the darker synth stuff puts me back to watching late night horror as a kid, the Laserblast cassette is another nostalgic trip, albeit a much different one. More like Saturday morning cartoons and getting lost in the local arcade for hours. What is it about the neon 80s and synthwave that attracts you? Were either of you an 80s kids?

Mie Jakobsen: Actually, I wasn’t even born in the 80’s. To be honest I don’t know where my fascination of everything made before 2000 came from. Sometimes I believe I was born in the wrong time.

Kristoffer Ovesen: I was born in 78′, so I grew up on Robocop, Burton’s Batman, Terminator, Ghostbusters, Gremlins, Beverly Hills Cop etc. To me the music of Laserblast is very much about the future I was promised through eighties pop-culture. A very escapist trip, to be honest. My childhood in the 80’s were filled with fear of environmental disaster and nuclear war on one side, while there was also a very optimistic, futuristic vibe in pop-culture on the other side. I remember the eighties as a time were looking like an android were something to strive for, a time were Grace Jones, Arnold Schwarzenegger and Brigitte Nielsen were perceived as aesthetic role models for looking like machines. Things were cool in the eighties. It was cool to be cool. I was not a cool kid, though, I just liked cool stuff….

J. Hubner: How do you think the age difference helps the working relationship between you two?

Kristoffer Ovesen: I think the big age difference between Mie and I has been very important for the outcome of the project. Not having experienced 80’s pop-culture in the same way as I, gives her a different, fresh perspective. Emilie is a bit younger than me and is very much inspired by videogame music and the fact that she was a part of the Danish demo-scene, when she was younger, but we also share a love for 80’s synth-pop and EBM.

J. Hubner: Do you two want to take Laserblast on the road?

Kristoffer Ovesen: No, live shows yet, but when Mie returns from down under we’ll get right on it. Playing live was on our minds from the beginning.

J. Hubner: You’ve put out a great debut cassette which is also available digitally. Any plans for a full-length LP?

Kristoffer Ovesen: Most definitely. We aimed for an album length, but at some point, we realized, that if we were to release anything before Mie left for Australia, it had to be EP length. That also means, that we had to leave a handful of tracks unfinished, tracks that should hopefully be the foundation of a full-length vinyl, but probably not on Interzone Tapes, I want to keep that as a tape-only label, as vinyl would require bigger runs and thereby the need for professional distribution, and I’m afraid the extra amount of work going into running a vinyl-label would have a negative impact on the amount of time I spend producing music. I admire people like Jonas Munk (of El Paraiso/Causa Sui) who can keep it all together, while remaining chill as fuck…..

Mie Jakobsen: The plan is to get some lyrics and vocals recorded as well. I will be more musically active on our future releases. Our badass little front-cover character has just made her debut. Great adventure is awaiting her..

J. Hubner: What’s lined up for the rest of 2017?

Kristoffer Ovesen: Videodrones are getting ready for our first live show in December and I’ve got a release with Danish synth/space/kraut collective Mentat coming out on Interzone tapes. Otherwise I’ll be working on some of our leftovers and unfinished tracks from the tape, and see what might fit a coming full-length Laserblast release.


Head over to Laserblast’s Bandcamp page and pick this one up right away. I’ve been filling my head with it all week and it gets better each time. You should also check out Kristoffer’s Interzone Tapes. He’s putting out some really great music, and in a very DIY way. Go see what he’s got for you over at their Discogs page and take a listen at the heady tones right here.

Sonic Terror : Inside The Heady Sounds of Videodrones

Videodrones is a synth duo from Denmark. What they create are the sounds of dread, doom, darkness, and those things that go bump in the night. They summon the spirits of Popol Vuh, Fabio Frizzi, Bobby Beausoleil; as well as countless soundtracks to late night horror films you watched growing up(especially if you grew up in the 80s and with local late night television at your disposal.) There’s a sickly sweet and queasy vibe to Videodrones. There’s the horror and Gothic vibe for sure, but they aren’t creating “spooky” sounds for the hell of it. There’s a purpose to their pulsating, modular madness. There’s also a serious improvisational spirit with the sound band members Jakob Skott and Kristoffer Ovesen create. It’s just the nature of synthesizers to make weird, “far out” sounds. But what these two do is take it to a new level. Obviously inspired by both synth artists and old VHS tapes filled with schlock horror films and exploitation trash(the best kind of trash), these two are taking Komisch and Berlin School noisemaking to new heights here.

For me personally, I listen to both last year’s excellent Mondo Ferox and their brand new(and equally excellent) record Nattens Hævn and I’m pulled into another place and time. I’m reminded of late night viewings with the lights off and everyone else sound asleep. But it’s not what I saw that stayed with me when I finally laid my head down to sleep, but what I heard. The music that accompanied the horror on screen. The synth-driven scores would echo in my head; square wave’s bashing on the walls of my skull as syncopated rhythms became in sync with my own bewildered heartbeat. Videodrones capture that spirit of music for me. They capture those childhood memories and add to them. They create their own sonic world of musical introspection and let you walk into these bubbly landscapes(at your own peril, of course.)

I sat down and talked with Jakob and Kristoffer about Videodrones, their influences, and their love of sonic mayhem.


J. Hubner: So tell me about the idea behind Videodrones. How did this project get started? Have you and Kristoffer Ovesen worked together prior to Videodrones?

Jakob Skott: We started simply by having a long overdue jam-session. Just a fun day of noodling with our synths. That’s where about 90% of the first album was recorded. The day we were working on it, the ideas just got better and better, and we recorded hours and hours, and it became more and more cinematic – which is probably no coincidence, because when we were younger we’d watch movies for hours from Ovesen’s vast VHS-collection. So we edited it in that style sort of reimagining the jams into something more cohesive – but it wasn’t something we’d really talked about ahead of it: “hey, let’s do a tribute album to all the movies we love” – it was way looser than that, without any real starting point and we didn’t figure out the name until we worked on the cover and titles. So the whole thing kind of just fell into place.

Kristoffer Ovesen: We’ve always had very similar film taste, so our friendship was always more about movies, than music. Although we had one or two jam-sessions about ten years ago, the day we got together to record the first album was the first time we ever got serious about making something coherent together. We’ve discussed films, and film-scores so many times before, that we didn’t really need to plan which direction to go. I think we both knew what kind of sound was common ground for us. I could elaborate some kind of grand idea, but it would all be something cooked up afterwards. It just kind of happened, really, without us ever discussing a greater concept. I think we might have discussed a bit more doing the second album, talking about which direction to go, referencing both the first album and other artists. But to say we had a plan beyond jamming might be stretching it….

J. Hubner: You two capture a very unique musical sound on both the debut album ‘Mondo Ferox’ and the newest record Nattens Hævn. Who or what are some key inspirations and influences going into the writing for Videodrones?

Jakob Skott: Like Ovesen says, I think we’ve pondered over these things for so many years that it’s embedded deeply into both of us – so to untangle it seems impossible. However I really do feel that the fascination of genre-movies from the 70s and 80s gets stronger and stronger. Directors like Jess Franco, Mario Bava, Dario Argento, Lucio Fulci & John Carpenter – the sheer WILL needed to create their works – under B-movie exploitation standards, they managed to make their movies soar. Furthermore they were all directors working in unison with a composer in a small cluttered home-studio – like Abel Ferrara & Joe Delia or John Carpenter & Alan Howarth. It was one of the things we talked about: Not killing the music in post-production, but rather letting it breathe – as some dude who’s been painstakingly arranging his music to the cues would: just leaving a single stringer note there for suspense…

Kristoffer Ovesen: I was always more into electronic, jazz or rock scores, than orchestral soundtracks. Goblin, Tangerine Dream, Fabio Frizzi, John Carpenter etc. The major influence of film-scores was allowing us to make small mood-pieces, instead of just full blown traditional compositions. The freedom to explore a single idea or mood, without the need of letting it go further. I enjoy listening to soundtracks because of those small pieces of psychedelic suspense-inducing freakouts, as much as the more elaborated “theme tracks”.

J. Hubner: Did you grow up gorging your brain on 70s and 80s horror movies? What was a trip to the video store like in Denmark growing up?

Kristoffer Ovesen: I grew up in small town where the local supermarket had a video rental section, just next to the newspapers and cigarettes. My mom used to drop me off in front of the shelves, and I would contemplate what was behind the strange artwork and punchline on the boxes while she was shopping. We never had a TV set during my childhood, so the rental stores were mostly just some weird display of inaccessible wonders for me. I became obsessed with videotapes during my childhood and i bought a television and a VCR and began collecting horror movies as soon as I could afford it. A lot of the classic Eurotrash and exploitation were available on Danish rental tapes in the 80’s and tapes could be rented not only in rental stores, but gas stations and supermarkets often had a small rental section too. You could find stuff like Cannibal Holocaust, Tenebre, City of the Living Dead, Texas Chainsaw Massacre etc. I guess it was the same as in the US or UK, but we did never have censorship like in UK or Germany. Although I did spend some time at university reading about more conventional stuff, I consider fanzine-reading and watching Dutch bootlegs of Jess Franco and Lucio Fulci movies as my real film-education….

J. Hubner: Can you tell me a little about how you two write in Videodrones? Do you get together and just start making sounds, or do you have motifs you work off of?

Jakob Skott: I have one secret weapon, which is a special way of doing live sequencing – I use the same figure at different speeds and in different variations for each voice in the track. So basically every figure is very similar to, say, the bass. It can be reversed or permuted, but it’s the same scale and basic figure that creates all the sounds. It also turns out very massive, and you can jam with 4 different polyphonic voices changing keys at the same time. It allows for vivid improvisation, but also creates a lot of great variation and motifs popping in and out of nowhere – as opposed to most other synth-jams where you usually just run an arpeggiator through chords. That’s one essential thing about this project: it’s born through improvisation – even when it doesn’t sound like it.

Kristoffer Ovesen: I used a two voice modular systems for both albums. Jakob would feed us different sequences, as described above, and the actual “writing” didn’t go much further on my behalf than “could you make that sequence faster” or “could you reverse/transpose that sequence”. I would have three or four sequences that I would feed to different voices, sometimes using a polyphonic sequence that I would split up into two or more monophonic voices. The approach was very minimalistic, allowing a maximum of freedom to improvise, without losing too much structure. The modular system also allows me to split gate and pitch signal, hence use the rhythm of one sequence together with the pitch of another sequence to create a third variation.

J. Hubner: How long does it take usually to build up enough material for an album? Is there an extensive editing process that goes with these records? The albums are so well sequenced, and everything seems to bleed perfectly into the next piece. I imagine the mixing/editing/sequencing is just as big a part of each record as creating the sounds.

Kristoffer Ovesen: Both albums were basically cut from a one-day jam, but on Nattens Hævn we recorded more tracks afterwards, than on the first album. The editing and mixing, all done by Jakob, is essential to the sound. He sends me tracks while he mixes and I sometimes record extra sequences, but all the hard work of listening through hours of endless noodling around is done by him. Both albums were actually completed quite fast, as we talked about not overdoing the post-production.

Jakob Skott: Yeah, I try to keep it fresh. The first one I think I spent no more than a few hours mixing each track. Just really cropping out huge parts and reassembling hours worth of jams – folding the layers on top of each other and immediately sending the highlights to Ovesen – trying to decipher whenever something interesting was happening. For the latest one, I spent a bit more time – and it has more depth simply because it’s mixed better – adding stuff and automating a lot of effects, pitching and tweaking as well. But still with a sketch-like mood in mind. I try to empathise the weird coincidences, sudden shifts and dropouts, rather than edit them out.

J. Hubner: With the albums, from the titles to the names given to the songs, it feels like there’s a definite theme on these albums. Do you go into these with a direction? Are you writing as if you’re composing for a film? Do you go so far as to come up with an idea for an imagined film and write around that idea?

Kristoffer Ovesen: Not really. There was never a real concept behind it, it was more an extension of watching and discussing movies. We did joke around with different fictive titles during coffee-breaks between jams, though. Some too offensive to mention…. Some track titles might be referencing a certain movie, some just a feeling, but as said before, there’s not much of a finished story  going on. It’s all just a product of our shared memory bank of psychotronic cinema, I guess.

Jakob Skott: I’m very happy that we didn’t settle on the “lost movie” theme – it’s just everywhere – it’s weird. I remembered we did the first album in May last year, and in June when Stranger Things popped up on Netflix, I watched it and thought “holy shit, this synthwave soundtrack-thing is going to explode – I need to hurry up and finish this album”. Well then it kind of happened ten-fold. But I think our inclination towards more weirded out stuff sets it apart enough to keep it fresh – at least I hope that’s how it works to the listener – maintaining a rougher edge through that whole improv-aspect. I’m as inspired by modern electronic music as by the grand synth-maestros – stuff like Autechre still sounds almost as fresh as when I first heard them 20 years ago, and I try to channel that ethos as well.

J. Hubner: Can you tell me what’s some of the go-to instruments Videodrones uses to make albums? It all has a bubbly analog warmth to it. Do you record to tape or is that aesthetic created in the engineering and mastering side of things?

Kristoffer Ovesen: I use a Eurorack modular system and a Roland HS-60, and some effect pedals. While jamming we record onto separate tracks on Jakobs computer, allowing him to mix and edit the tracks afterwards. I think the “warmth” is partly a result of Jakob not overdoing it in the mixing process, but the mastering Jonas did for us was definitely the final touch. Just like The Dude’s rug, it really ties it all together.

Jakob Skott: We use all kinds of stuff – there’s tons of digital stuff in there as well – we’re not purists, but use the best of all ages. Ovesen’s modular has a lot of really noisy and weird filters – for the stuff he puts out on Interzone Tapes – I used wavetable-synthesizer, as well as the analogues – there’s even an Ipad in there. But usually with some sort of analogue pre-amp or drive boost at the end of the chain to warm things up. I actually tend to make my mixes too dark, so Jonas actually adds some sizzle (which tape will absolutely not do) as well as ties the low-ends together – by using some hardware compressors, etc. So he adds definition to our blurriness – I’m always really happy with that, because in the end it has tons of murky vibe, but still packs a good punch.

J. Hubner: If you could only choose one, who’s a director that had the most influence on you growing up? Was there a film that affected you more than others?

Kristoffer Ovesen: That’s a tough question, different directors through the years, of course, but i think George Romero, David Lynch and Tim Burton were some of the first directors I were into in my early teens. I guess the film(s) that kicked of my interest in horror movies was the Nightmare on Elm Street franchise. I watched most of them one summer night when I was 13 and it had a profound impact on me. I think being a horror-buff grew into some kind of identity for me, and to this day I like to see myself as a horror/exploitation collector/expert more than a musician, actually. The first time I remember noticing how different a film score could be done must have been watching The Texas Chainsaw Massacre or Argento’s Profondo Rosso. Especially the pounding prog/synth scores of Goblin still resonates in my brain whenever I turn on my synths.

Jakob Skott: Right now, finishing Twin Peaks: The Return I feel inclined to say Lynch as well. I watched the first Twin Peaks series when I was about 11 or 12 – needless to say, Killer Bob has caused a fair share of night terrors for me. I also remember watching Lost Highway when I was about 17 – yet another crucial turning point: watching a world of cinema you thought you knew and understood just literally go up in smoke in front of your eyes. And of course the outer-worldly role of music in his films. The way they’re not bound to regular structures, but invents their own deeper and more emotional logic – that’s very inspiring. And this new 18 hour opus is just as heavy. I’m blown away – the old weathered faces – and also that he’s not keeping it very clean stylistically – just messing up with poor video-effects, style changes in every scene. Zero fucks given to his own legacy – that’s awesome!

J. Hubner: Can we count on more from Videodrones? If there was a once-a-year release I’d be perfectly happy with that.

Jakob Skott: The first session we had at my apartment – the 2nd was at the Studio where Causa Sui records, so I played all of Jonas Munk’s synth gear. We had a third session a few months ago, but I actually haven’t listened to it yet – that was at Ovesens place in the country side. So sure, we have to finish the trilogy just like any good movie-franchise…

Kristoffer Ovesen: What he said….

J. Hubner: So what’s on the horizon for El Paraiso Records? What musical tricks do you guys have up your sleeve for us? I’m asking so I know just how much money I need to start putting back.

Jakob Skott: Ha, sure – there’s a lot of stuff in the pipeline. I’ll give you the first 3: New Causa Sui studio album, New Mythic Sunship – and Nicklas from Papir is doing a follow-up to his first solo album. All moving up to a new level and all currently being printed. The X-mas LPs are already causing really long delays at the printers, so we’ll probably have to wait til next year. But will be worth the wait! Our best stuff yet to come!


A trilogy of Videodrones, new Causa Sui, Mythic Sunship, and Nicklas Sorensen. The future’s so bright I’ve gotta wear shades. You should wear shades, too. And grab Videodrones’ Nattens Hævn over at El Paraiso Records.