Danish Progressive Rock At Its Best - Part 4
by Piotr Tucholski for Tarkus no. 24, March 2003
appeared as A Genuine Danish Eccentric
The last part presents the interview with TømrerClaus not only
about his career but also about musical, political and social background
in Denmark.
Piotr: Claus, why do you play under pseudonym TømrerClaus?
As far as I know tømrer means “carpenter”.
TømrerClaus: I got the name Tømrer/CarpenterClaus
in the summer 1970. I was a member of the planning staff at The
New Society's summer camp in Thy, Jutland. In this camp thousands of hippies
came together to enjoy each other and the music. It was a Danish version of the famous Woodstock festival. I'm an educated carpenter so I was there months before the opening, doing practical things together with a small team of comrades. I also brought my electrical guitar and my other instruments, and I used to play a little every day after hours. My name at this time was just Claus. When the big rush came, it appeared that a great many persons were named Claus. Therefore, many of the Claus’s got nicknames. I was named TømrerClaus, another was HesteClaus (HorsesClaus) and so on.
This was a great time. I opened a small store that sold bread with
liver-paste, first class custom made by a local butcher. Great success,
when hungry micro-macro freaks came sneaking after dark to satisfy their
hunger. At times when the mood was right, I played guitar, and this was
my first contact to my friends in Copenhagen, and a start of my professional
career as musician.
There were Danish bands like Steppeulvene, Alrune Rod, Young
Flowers, having strong influence for other performers; what groups influenced
your music?
As many other musicians, I started copying other's music. It was
blues of Muddy Water, B.B. King and so on, but also "white music" as Vanilla
Fudge, Spirit and more. But it gave me a kick when Cream and Jimi Hendrix
appeared on the scene. I think that the sound of the psychedelic guitar
music was born with these groups more or less. These groups were also the
natural consequence of the youth movement in 1965-1972. So, this is one
big part of my inspiration. The other part is my general fascination of
music. This fascination has brought remnants of Stravinsky as well as Balkan
music into my music, which obviously can be heard on my new CD "En Spade
Er En Spade".
In the last 10 years the Balkan fascination has played a big role
in my music. Not only the music itself, but also the attitude of many
of the Balkan musicians. Or maybe I should say lack of attitude. I think
one specific thing that made a great impression on me, is for example
that a great clarinet player is playing his music with great emotions
and technically very good. But he put all his energy into the playing
itself, and not into fancy dress and dancing steps and hero look-at-me-I'm-fantastic
attitudes, that is the watermark of all western music. This makes a difference.
Focus is the key word.
Quite many Danish bands sing in English. Why it is so? Maybe
they expect to be more popular abroad? Their English is usually very
good but they loose the originality...
In the early beat and rock years, it was a common understanding
that beat and rock could not be sung in Danish because of the way the
edges in the language were put together. Very few tried to sing in Danish,
and those who did in the start, had no immediate success. Later in the
70'ties, Danish was introduced more successfully, carried by the back-to-the-roots
movement and the political rock groups. Still most bands sung in English,
but the reason now was that it was believed that rock in English was The
only chance to get into markets outside Denmark. The fact that very few groups
became known outside Denmark, had little effect on the English rock in Denmark.
It must also be taken into account that many Danish bands, e.g. Young Flowers
had very strong influence from groups like Cream, and they did in fact copy
many of their songs.
How would you compare your guitar playing with other guitarists
like: Peer Frost, Claus Bøhling...?
As we all come from the same background and time, we have much in
common. Besides, that we know each other, and have excellent relations.
We all have the blues background, and we also share the better part of
technical excellence. So far we are of same breed. The biggest difference
may be my fascination and music other than rock. I also think that I have
got the biggest part of anarchism than the other 2 guitarists in comparison.
Bøhling is now playing in his "Electrum" - Celtic inspired rock,
Per Frost used to play dance music for past few years, but recently Young
Flowers has reunited for a few gigs.
Rock music was influenced by many worldwide social, political,
even technical events like: Vietnam War, arise of hippie subculture,
invention of Hammond organ etc. Were there any events specific for Danish
rock?
Denmark was part of the worldwide youth movement, and the music
was part of the movement, that's why it could grow so fast. The music
was rebellion music, made from suppression and the instrument was
cheap instruments, easy to play and ways of playing was invented and reinvented
many times in the hippie-years.
Things that people stood together against was the Vietnam war, and
a positive lifestyle that respected minorities, animals and no over harvest
of threatened species and much more.
There was also an ongoing campaign against nuclear power. It happened
that while Denmark was concerned abut eventually use or not use nuclear
power, Sweden built a very big nuclear power station at Barsebeck, just
a stone-throw away from Copenhagen. Many people were in upror because of
that, and it had significant influence on alternative theatre and music
because of a lot demonstrations and happenings was a direct result and the
Barsebeck provocation. In Denmark there was a strong sub-movement of "anarchists"
most of which came from students. Anarchists at that specific time were
not so radical as the word indicates, and they were absolutely non-violent.
But this movement was very good to arrange parties, and they always used
the popular hippie bands from that time: Blue Sun, Hurdy Gurdy, Young Flowers
etc.. Those were the days...
And how about Christiania? I know you moved there in the middle
of 70’s). Why did you decide to do that and what influence Christiania
had for Danish rock groups?
Rock, and especially Danish rock had stiffened during the late 70'ies:
all was more or less the same tame shit. It had become commercialized
and the sharp provocative teeth was replaced by a tail waging dog waiting
to get lumps from the master-record companies. Much was achieved during
1967-1972, but now all seems to be lost again! For myself: I could do nothing
but leave the scene, so I decided to take at least one sabbath year. I would
use this year to dig in myself: What was the direction for me to go? I
was also not too satisfied with my own playing technically and artistically,
so I had to find new ways to make music.
|
| Entrance to Christiania |
I moved to Christiania, to a place where there were no modern things
like running water or electricity. I bought a cello, and practiced a lot
on this and my violin. Together with 2 other comrades from Christiania,
we formed a street-group that played a lot in the inner-Copenhagen with
a splendid tour to Paris as well. At the high point of the group’s career
we played acoustic for 1000 people in the "GrAA Hall" in Christiania. In
between I was bartender at "Maanefiskeren" in Christiania.
During this year I gradually got a new approach to play electric
guitar, and in the horizon punk groups appeared, so things turned to the
better and I felt lust to do something electric again.
Christiania gave birth to many things. Most known is Solvognens
magnificent large political shows. In every aspect this was what theater
should be, and it was over time one of the most featured events in the
media. Musically Christiania was not near the forefront position as the
theater had achieved. First when Solvognen more or less was over, some
of the new punk anarchistic music began to arrive. First in a place named
"RockMaskinen", later at "Loppen" and at last overall: punk had conquered
and the groovy times was back again! Punk had never been so big and great
if Christiania was not there to accommodate all the groups, and for myself,
it was great time. I got many friends and great inspiration in spite of
the gab of at least one generation between me and punk.
I very much enjoyed the new artistical freedom that punk represented,
close to the roots of rock, I mean. I was happy to open the doors of
my studio to these groups, so my studio more or less became a meeting point
of the new generation music in DK. Great as it was, however this flourishing
did not last very long.
If you mention of your Karma studio let’s focus on it now. You
released many titles. Where there any special ones for you that come
to your mind?
One thing I never forget was the band Mercifull Fate. One day I
got this call from the band, that they wanted to do a demo. Big demo,
small money; my studio was the place. Months before I had a crush on
the Eventide Harmonizer - what a fantastic tool. Everybody talked about
it, the wonders it could do to almost anything. The problem was that it
was far beyond my economical capacity. So I kept swetting about the harmonizer,
until one day I saw that Canadian company Deltalab had made one. To a sensible
price too! Great stuff! I immediately ordered one of these marvelous tools,
but how would anyone ever know that I had one? It happened that there
was an almost one-to-one picture in the ad for the harmonizer. So I took
my scissors, chopped it out, folded it and put it on an fine spot in my
studio. And took a picture. Look at this picture: Karma Studio with a very
smart harmonizer. The first of its kind in Denmark! This picture went
on Karma's new brochure, and next thing was Mercifull Fate booked in the
calendar. This harmonizer arrived just before the band knocked at my studio
door, and we started to work. The singer (now known as King Diamond) was
great, and so was the band. We did some very high pitched voices that really
was a kick, and the band went straight to Holland and got a contract, and
was in business (big business).
As things come, I happen to play a lot with King Diamond bass player Hasse Pachino today: He does some great bass stuff on my new CD “En Spade Er En Spade”. I did so many great things in the early 80'ties that I could write a book about it. Most interesting were the punk bands, but almost every project had its own spirit. It was in the late 80'ties when this spirit faded, economy tightened and too many on-the-shelf demo bands arrived,that I decided to call it a day.
Recently, several new titles has appeared in your Internet shop: Alrune
Rod "Spredt For Vinden"and "4-Vejs", Røde Mor box set, Flowers
"Live 1969", remixed Hurdy Gurdy etc. What other Danish reissues you
expect to come and what titles Karma is going to re-release in the near
future?
My aim is to re-release much of the lost treasures from the hippie
time. Next to come is Blues Addicts. Later Before (Great 80'ties band
inspired of the 60'ties - very much Doors and the like), then - if enough
old material appears: Steppeulvene live, some Bifrost tracks, Terje Jesper
and Joachim, Hasse & William, more Blue Sun stuff, Jan Vangberg, Moses
(thoug it appears that some piracy is present on that..), Furekåben,
Franz Beckerlee, and also some new recordings of reunited bands that I
recorded from festivals last year and this year: Alrune Rod, Hurdy Gurdy,
Blue Sun, Steppeulvene, Røde Mor and other groovy new stuff from
the old bands.
I have bought a "real store" in the inner Copenhagen. It will be
open the 15-th of February 2003, so I will be busy setting it up. Consequently
it will slow down the before mentioned projects, but after things have
settled down, I'll resume the re-releases with even bigger pace.
Thank you Claus for this very interesting interview. I wish you
to realize your plans and always to keep your passion and business together.
THE END
REFERENCES AND INTERNET SITES:
- Politikens Dansk Rock 1956-1997 - I wish I knew Danish! But
even tough I don’t know this language this book is very recommended. Beautifully
released with lots of photographs, discographies and information about political,
social events having big influence on life and music in Denmark of that
time.
- Scented Gardens of the Mind (A Guide to the golden era
of progressive rock (1968-1980) in more than 20 European countries)
by Dag Erik Asbjornsen - Borderline Production 2000. It is a must-have for
every rock collector. Lots of information, discographies, pictures of album
covers - excellent.
- Karma Music - I think it is the best place
in Internet to buy Danish rock on CDs, conducted by TømrerClaus.
You can find there official reissues of bands such as: Burnin Red Ivanhoe,
Ache, Blue Sun, Alrune Rod, Young Flowers, Day of Phoenix, Beefeaters and
many others. There are also many sound samples. Claus’ service is of high
quality and fast. Moreover, the CDs reissued in Denmark appear in Karma soon
after re-release.
- ULO - Go there if you are interested in Greenandic
music. I recommend to read Karsten Sommer’s article “Polar pop” that you can
find on the page.
- Gibraltar Encyclopedia of Progressive Rock
- I think everyone knows it. I put the link to frequently updated site.
- Christiania home page - check this link
if you want to know what Christiania was in 70’s.
ACKNOWLEDGEMENTS
I wish to thank my friends for great support I received from them during
writing this series of articles:
Martin Lykke Nielsen - for help in Danish translation
Claus Rasmussen (rock archeologist) - for valuable remarks about Danish bands
Claus Pedersen - for great time
we spent on interviewing
Sven Eriksen - for incredible indulgence and patience in waiting for the articles.
