Posh Isolation : Whip not speak

Posh Iso­la­tion est un label de Copen­h­ague qui existe depuis 2008. Il est lié de près ou de loin à tout ce que le pays a sorti de bien ces 5 dernières années (Iceage, Sex­drome, March­ing Church, Lower, Lust For Youth, Vår, etc). Le dernier pro­jet extrait de leur cave humide : Croa­t­ian Amor, un duo ambiant d’europop bruitiste. En plus de son inter­view à lire en français sur NOISEY, Loke Rah­bek m’a pro­posé une playlist musique sans paroles que vous pou­vez écouter plus bas. Avec un fouet ou pas.

//ENGLISH VERSION BELOW\\

Who is behind Posh Iso­la­tion ? How did you come to found a label ?
Chris­t­ian Stads­gaard & Loke Rah­bek. The label started as I think many oth­ers did, by a need to put out our own music. Things have since evolved and today we release work by many other artists, still only peo­ple we are close to, in one way or another. 

Do you have a per­sonal stu­dio ?
We and most of the bands around the label all rehearse and record at a placed called May­hem in Copen­hagen, that dou­bles as a venue. Mainly for exper­i­men­tal music.

Viewed from here, Copen­h­ague looks like an active city.
The Alter­na­tive music scene of Copen­hagen has grown alot the last few years and is in a good place now, bet­ter than i think it ever was before. Besides that it is a small big city, like many otber small big citys. The city is a city, its what you put into it.

Posh Iso­la­tion has an aus­tere web­site, use over-minimalistic themes, doesn’t «com­mu­ni­cate»… Is it a strat­egy ? Are you behind the graphic vio­lence too ?
We do most of the graphic work and have done so from the begin­ning, it has always felt impor­tant to be in con­trol of that aspect. To be able to present every­thing as parts of a whole, a big­ger pic­ture so to speak. Yes, we dont speak, if there is noth­ing to speak of. If the work is strong enough, it should voice its own opin­ion, don’t you think ? 

Sure, but peo­ple need expla­na­tions about every­thing. Some of the bands you release have out­ra­geous names and use provoca­tive ref­er­ences. Did you already got prob­lems with that ? 
I have a hard time think­ing of a sin­gle posh iso­la­tion release that is half as provoca­tive as pretty much any­thing played on pub­lic radio today, or a piece of art­work that would be more inde­cent than any adver­tise­ment you are forced to look at every day. Still ofcourse there are always some­one ready to feel insulted.

You have more than one hun­dred records on your cat­a­logue since only 4 years. Impres­sive. Some with a very small quan­tity. What has been the most «suc­cess­ful» one ?
Suc­cess­ful, in what way ? What release sold the most, or had the nicest com­pli­ments, or felt the most right ? I could not and would not answer a ques­tion like that. Of course we strife to make the next one bet­ter than any­thing before, but gen­er­ally I look at the discog­ra­phy as a whole, that every release works with the one before and the one after it.
 
I meant suc­cess­ful at a DIY scale, obvi­ously. Seems impor­tant for you to build a real unique label in every way. Do you still believe in the term «alter­na­tive» ?
I guess the obvi­ous ques­tion is alter­na­tive to what ? In that way I like the term alter­na­tive, it implies another way. Today, alter­na­tive music seems to be a sticker you can put on just about every­thing, if you use a delay pedal on your gui­tar you are an alter­na­tive rock band. But if we go away from the mean­ing the term has adopted and go back to the word, alter­na­tive, it implies exper­i­men­ta­tion, and exper­i­ment is what it all comes down to. So lets call it that instead, exper­i­ment.
 
Why do you love tape for­mat so much ?
Tapes have been a very impor­tant part of our work from the begin­ing, for so many rea­sons, when releas­ing the music we do, often dif­fi­cult and demand­ing music, a dif­fi­cult and demand­ing for­mat seems to make alot of sense. There are so many rea­sons for tapes to be an ideal medium for this kind of label, they are cheap, they look good, they sound good, and you can do it yourself.

Posh Iso­la­tion i also a shop you run in Koben­havn. What kind of clients come there ? I once read a fea­ture about it in a glossy french girly mag­a­zine, I was a bit sur­prised !
Well, I would lie if I’d say that we have alot of glossy french girls com­ing by, besides from that, we have a var­i­ous clientele.

Haha. What are you sell­ing ? 
We sell music and lit­ter­a­ture. Pre­sent­ing a small but, in our opin­ion, well curated stock of titles. Besides that, it’s a place for peo­ple to meet, a place to exchange ideas and opin­ions.
 
You’re also book­ing shows, right ?
Posh Iso­la­tion rarely books shows, it hap­pens from time to time when some­thing seems impor­tant enough. There have been many good ones, the best would be to come and see for yourself.

I will. To fin­ish, and since you’re not the most mouthy man on earth, give me your top ten instru­men­tal tracks.

1. Brian Eno – « Ambi­ent 1 », Music for Air­ports.
Mon père avait ce disque quand j’étais gosse, ça a été mon pre­mier con­tact avec l’ambient music. J’en pen­sais pas grand chose, mais il était juste là. A l’âge de 13 ans, mon père m’a filé sa pla­tine avec tous ses dis­ques et je me sou­viens d’avoir tou­jours vu ce disque, sans jamais l’écouter. Quand j’ai eu 16 ans je me suis rebellé et j’ai tout revendu, sauf le Brian Eno, pour une rai­son incon­nue. C’est un des dis­ques que j’ai le plus écouté ces dernières années.
My dad had this record when I was a kid and it was per­haps my first intro­duc­tion to ambi­ent music, I didn’t think much of it, it was just there. when i was about 13 he gave me his record player and all his records and I remem­ber hav­ing the record but not lis­ten­ing to it, when I got 16 I rebelled and sold most of his records but for some rea­son not this one. The last few years I have heard this record more than most.

2. Van­ge­lis – « Blush Response », Bladerun­ner Sound­track.
Des années après avoir vu le film, quelqu’un m’a filé la bande-son. A Noël 2012, j’étais en vacances à L.A. et j’en ai prof­ité pour aller vis­iter l’immeuble de Frank Loyd Wright qu’on voit dans le film. Il était en pleine réno­va­tion mais on pou­vait le voir vu du dessus en grim­pant par le mur à côté. Durant le voy­age retour, je me suis rendu compte que j’avais la B.O. dans mon télé­phone et elle a tourné en boucle pen­dant tous mes voy­ages suiv­ants. « Blush Response » est en plus un des meilleurs titres jamais trou­vés, c’était d’ailleurs le nom de l’album The World de Croa­t­ian Amor lorsqu’on bos­sait dessus, avant qu’il sorte sur Posh Iso­la­tion l’année dernière.
Many years after watch­ing the movie some­one gave me the sound­track. Christ­mas 2012, I was in LA and went to see the Frank Loyd Wright build­ing from the film. It was being ren­o­vated but we could climb onto the wall and see it from there. When we were dri­ving back I found that I had the sound­track on my phone and lis­tened to noth­ing else for the remains of my trav­els that year. The title Blush Response is also one of the best titles I can think of and was the work­ing title for the Croa­t­ian Amor album The World that came out on Posh Iso­la­tion late last year. 

3. Coil – « Dark River », Loves Secret Domain.
Com­pren­dre Coil m’a pris des années. Les gens m’en par­laient tout le temps et je ne pou­vais jamais ren­trer dedans, ça n’avait aucun sens pour moi. Puis un jour, il y a un an ou deux, tout est devenu limpide. Désor­mais, peu de groupes me sem­blent aussi ultimes que Coil.
It took me years to under­stand Coil. Peo­ple would always talk about them to me and I couldn’t get into it, it didn’t make sense. Then all of a sud­den one day, about a year or two ago, I got it, it all made sense. Now there are very few bands that make more sense to me. 

4. M.B.Sym­phony for a Geno­cide.
Mau­r­izio Bianchi ! Aucun mot à ajouter.
Mau­r­izo Bianchi ! No words needed. 

5. Age of Love – « Age of Love », Coma Records com­pi­la­tion.
Quand on a ouvert le mag­a­sin Posh Iso­la­tion, un pote nous a filé toutes ses com­piles dance des années 90 qui sont vite dev­enues les uniques dis­ques qu’on écoutait cet été là. Je me rap­pelle de cette scène mar­rante, quand ce mec « indus » venu de l’étranger s’était pointé au shop pour échanger des raretés et qu’il s’est aperçu que le lieu était rem­pli de jeunes gens bour­rés qui jumpaient sur de l’euro dance.
When we first opened the Posh Iso­la­tion store a friend of ours gave us these 90’s dance com­pi­la­tion records that very quickly became the only records we would lis­ten to that whole sum­mer. I remem­ber an inci­dent where an « indus­trial » for­eigner came by the shop to trade records and found a base­ment full of drunk young peo­ple lis­ten­ing to euro dance music. 

6. Michael Nyman – « Fish Beach », Drown­ing By Num­bers.
Lors de la pre­mière répète qu’on a faite avec Vår (qui s’appelait encore War à l’époque), j’ai fait écouté deux choses à Elias : une cas­sette de Lust For Youth et cette chan­son, en lui deman­dant d’essayer de faire un truc qui y ressem­ble. Aujourd’hui, j’essaie encore de com­poser des chan­sons qui son­nent comme ce morceau.
The first ever rehearsal with Vår (then War) took place after I had played a Lust For Youth cas­sette and this song for Elias and asked him if we could try and make some­thing that sounded like that. I still try and make songs that sound like this. 

7. William Basin­skiThe Dis­in­ter­gra­tion Loops.
Il y a à peu près un an, j’ai fait des kilo­mètres pour aller ren­dre vis­ite à une amante. Elle vivait dans un immense immeu­ble indus­triel et sa cham­bre con­sis­tait en un cube en bois per­ché au milieu d’une énorme salle des machines. Comme une cabane dans un arbre, tu devais grimper à une échelle pour pénétrer à l’intérieur, les murs étaient rouges et des fleurs séchées tombaient du pla­fond. Chaque soir on allait au lit au son de Basinksi et chaque jour, on se réveil­lait avec Basin­ski.
About a year ago I trav­elled far to visit a lover. She lived in a big indus­trial build­ing and her room was this small wooden house under the ceil­ing in a much big­ger old fac­tory room. Like a tree house, you had to climb a lad­der to get to it, inside, the walls were red and dried flow­ers hung from the ceil­ing… We went to bed to Basin­ski and woke up to Basin­ski, every day. 

8. Erik Enocks­son – « The State The Sea left Me In», Farväl Falken­berg Sound­track.
Qua­si­ment tout ce que Erik Enocks­son a fait est mag­nifique. Apan fut mon pre­mier con­tact avec sa musique, un disque sorti sur le label sué­dois Release the Bats. Depuis, j’essaie de met­tre la main sur tout ce qu’il sort et a sorti.
Pretty much any­thing that Erik Enocks­son has ever done is beau­ti­ful. My intro­duc­tion to his work was the record “Apan” that was put out by the Swedish label Release the Bats, ever since then i have tried to get ahold of any­thing he has done or does. 



9. Bur­ial – « Come Down to Us », Rival Dealer.
Celui-ci, je l’ai entendu il y a quelques semaines seule­ment, et de tous les gens avec qui j’en ai parlé, aucun n’a voulu m’avouer qu’il aimait, même si c’était vrai­ment le cas. Tout ça parce que le disque se trouve dans la caté­gorie plaisir défendu. Donc je vais être le pre­mier à dire que j’aime absol­u­ment tout sur cet album, même ce qui est exagéré et « too much ». Il y a des voix partout sur ce titre mais allez, je le mets quand même.
I heard this only a few weeks ago, and so far every­one I have talked to about it can’t say that they only like it, it finds itself awfully close to the guilty plea­sure seg­ment. So I will be the first to say that I like every­thing about this record, even what is « over the top » or « too much ». I realise there are vocals all over this track, but I put it on any­way.

10. Burzum – « Hermo-r A Helfer », Daudi Baldr.
Ce disque au con­traire, pos­sède un nom­bre incal­cu­la­ble de défauts, et pour­tant, ça fonc­tionne. Le titre que j’ai choisi lui par con­tre, est stricte­ment par­fait.
This record on the other hand, got an end­less list of things that are wrong, and at the same time it works. But about the track Hermo-r A Helfer, there is absolutely noth­ing wrong with.

LACHER UN COM

Current month ye@r day *