THE LAST ROMANTIC

BANDCAMP

THE LAST ROMANTIC

MARTIN HALL
TWO-VOLUME NOVEL
JUNE 2006
GYLDENDAL (ISBN 87-02-04955-4)

At the end of June 2006 Gyldendal, the biggest Danish publishing house, released Martin Hall’s epic two-volume novel The Last Romantic in its first paperback edition. Originally People’s Press had released the hardback novel in August 2005.

Gyldendal’s paperback version of the book became The Danish Booksellers Association’s ”book of the month” throughout July and August 2006 thereby securing the title its status as a regular bestseller. As a hardback novel the book had already sold several editions.

The Last Romantic has been translated into German and Lithuanian. It remains Martin Hall’s most read book and continues to cause controversy due to its roman à clef status.

The paperback version presented the book with a new cover design based on a photograph taken by Robin Skjoldborg. You can read more about the original version of the book here:

Genre: Novel
Pages: 705
Design: Kenneth Schultz
Photo: Robin Skjoldborg

“It was the summer of 1980. I was 18 years old, 1,82 tall and about 73 kg heavy. When Ronald Reagan was elected President of the United States in November, I was down to about 65. Some might say it was due to all the amphetamine I took, but it was just as much an attitude thing."

”One of the best descriptions of Danish cultural life (or lack of the same) in the last 25 years.”
( * * * * * )
Citadel (the Danish equivalent to i-D)

”A magnificent roguish and excessively rich fantasy … Gripping and amusing, intelligent and, I dare say: edifying.”
Politiken (the Danish equivalent to The Guardian)

”An intellectual feat of strength.”
( * * * * * )
Ekstra Bladet (the Danish equivalent to The Sun)

”Sex, drugs and rock’n’roll mixed with high-flown existential philosophy and a skewering critical angle to modern culture.”
Berlingske Tidende (the Danish equivalent to The Times)

”The best book I’ve read about ”the sons of no generation” as Hall calls them.”
( * * * * * )
Nordjyske Stiftstidende

”Seldomly gripping portrait of the eighties and nineties.”
( * * * * )
Femina

The following passage is taken from the publishers’ foreword to the original edition of the book:

“Throughout human and art history, the romantic struggle is a continuous motif. In the words of Sartre, this is nostalgia for the future – the desire to live life to its fullest, knowing that this will never be realized, and a state of melancholy for the same reason. In Martin Hall’s monumental novel, a gigantic epoch that stretches over 25 years from 1980 to 2005, the storyteller is a young author who matures in the course of the story: From the decadent punk and underground art scenes of the 80’s through the glittering excesses of the 90’s to the level-headedness of the mature man, the question remains; how do you keep your romantic ideals when the world around you doesn’t respond?

The Last Romantic is an extravagant tale about the children of the 80’s, the “sons of no generation” as the author himself has described the iconolaters of this age in a song. It is a novel about zeitgeist and daring, about speed freaks and dandies, dealers, rock’n’roll animals and S/M-parties, all written from the perspective of the particular temper of the times – a complete novel about white nights, the search for spirituality, casual sex, delirious love affairs, crass comedy and philosophy, all gathered in the experiences of a generation, who so far hasn’t had their literary testament written.

More than anything, The Last Romantic is the great novel about becoming a man – at all times.“

”One of the best descriptions of Danish cultural life (or lack of the same) in the last 25 years.”
( * * * * * )
Citadel (the Danish equivalent to i-D)

”A magnificent roguish and excessively rich fantasy … Gripping and amusing, intelligent and, I dare say: edifying.”
Politiken (the Danish equivalent to The Guardian)

”An intellectual feat of strength.”
( * * * * * )
Ekstra Bladet (the Danish equivalent to The Sun)

”Sex, drugs and rock’n’roll mixed with high-flown existential philosophy and a skewering critical angle to modern culture.”
Berlingske Tidende (the Danish equivalent to The Times)

”The best book I’ve read about ”the sons of no generation” as Hall calls them.”
( * * * * * )
Nordjyske Stiftstidende

”Seldomly gripping portrait of the eighties and nineties.”
( * * * * )
Femina


HINDSGAVL SLOT 180605

BANDCAMP

HINDSGAVL SLOT 180605

MARTIN HALL
CD
JUNE 2006
PANOPTIKON (OPTIK 07)

Exactly one year after Martin Hall’s concert at the Danish castle Hindsgavl Slot on June 18, 2005, Panoptikon released The Danish National Radio’s recordings from the event – i.e. the ten tracks featured in the broadcaster’s live transmission.

The album contains songs such as ”Pantomime”, a song Hall originally wrote for the Danish singer Lise Westzynthius in 2003, as well as one of his greatest hits ever, the encore ”Beat of the Drum”.

1. She’s Eternal (6:00)
2. Plaza Flesh (2:31)
3. Pantomime (2:29)
4. Another Heart Laid Bare (4:34)
5. Images in Water (8:03)
6. Doing the Continental (2:37)
7. Verschwendung (3:11)
8. To Be Continued (5:33)
9. Just a Feeling (4:46)
10. Beat of the Drum (4:54)

SHE’S ETERNAL

I never wanted her to see
The world inside me
The world was turning round and round
Like something running out of time

She whispered “listen to the wind” and her breath burned my skin
I didn’t understand but it made me feel so still
There’s a tale of the night, there’s an unspoken word
And the story that she told couldn’t be explained in words

‘Cause she
She’s eternal
With her the world dies
And she
She’s eternal
With her the world dies
Let it die

A stone that falls into the sea
It falls inside me
These winterlands, they never change
They’re covered in this quiet grey

Voices calling in the night from the corners of my mind
From the desolated worlds I was trying to leave behind
Never thought I’d be returning to the place it all began
To the tainted heart of longing, till she took me by the hand

PLAZA FLESH

Show me your true desires
Show me your plaza flesh
Pictures of people dying
Seem to have no effect no more

I don’t really give as much as a toss anymore
I just want to hide away, never beg anymore
I don’t really count the days or the hours anymore
‘Cause she’s gone, gone, gone, gone, gone
‘Cause she’s gone, gone, gone

Come now, inject the daylight
Come here, each little girl
At first, I just want to kiss you
But then I want it all
I want excess
Your plaza flesh

PANTOMIME

Feeling like Berlin 1929
So many feelings all caught up inside
Falling like cities seen through lovers’ eyes
Shaking with fever as they say goodbye

Each time you look
Somebody hides
All of the world
Up in the clouds

Feeling so stupid in this pantomime
All that I need is one pair of starry eyes

ANOTHER HEART LAID BARE

Another heart laid bare on the doorstep to my exile
Another pantomime to disbelieve
I see your bended head, always humble in the daylight
Playing the servant’s role to never see

Of all the images that you left for my keeping
The one I like the most is the world outside
I never thought I would but the distance seems so perfect
I can’t deny the fact that I’m pleasantly surprised

Another victim cries, pointing fingers at the heavens
Declaring me the crime of centuries
The traces on my skin, they keep shining in the nighttime
A fingerprint on every memory

IMAGES IN WATER

The sound of the room
The sound of your breathing
See the night rain that falls
Hear it run down the walls
There’s a scent in the air
There’s a trace in the water
And you’re stretched like the sky
On these carnival nights
That you carry inside

And the image you see
Such a weight on your eyelids
It never dried on your eyes
Never silenced the cries
Like a needle you find
That injects light inside you
See the ribbons of rain
Draw the lines of a face

The thinnest of air
Was all that you needed
Now the glittering stars
Shine a light far too hard
On the tip of your tongue
There’s a word never spoken
Like a vanishing gaze
Choreographed games
That you try to rename

And the image you see
Such a weight on your eyelids
It never dried on your eyes
Never silenced the cries
Like a needle you find
That injects light inside you
See the ribbons of rain
Draw the lines of a face

The scenes of a night cut in marble
The sound of the rain’s getting harder
A hand mirror line turning flesh for a while
You’re so tired now

DOING THE CONTINENTAL

Now really
Close doesn’t count
Not at all
It’s just your vanity making its call
You’re such a promising light
At least for a while
When I’m bored

So many little Napoleons fail
They’re never getting the point of the game
They’re trying too hard to please
It’s such a relief
When they’re gone
The laughter in the rain
We’ll take a turn again
When I’ve regained my breath

I’ve seen a lot of dead people on drugs
Hanging around in cafés like they’re not
Inhaling nicotine candy
And quoting that Andy cliché

In a world full of sad girls with great looks
I’ll be your Martini Girl
I’ll be late for a thousand appointments
But still I’m your girl
I’m flirtatious
Outrageous
Contagious
A three minute love affair
I’m so gracious
So spacious
Delicious
I’m all you can bear

So have a bite of my sweet lover’s heart
I’m irresistible right from the start
I’ll tell you when to start chewing
And when to be queuing to see me leave

VERSCHWENDUNG

Verschwendung ist der Name des Spiels
Eine Tugend
Eine Ehrensache

Meine Seele ist ein Hotel
Meine Liebe eine Einrichtung
Meine Liebe
Meine Liebe

Ich bin ein Matador
Ein Toreador
Ein mutiger Kujon
Ein alter Hund
Eine Wiederkunft aus meiner Kindheit
Ein Schauspieler in einer unfreiwillingen Erinnerung

Keiner stellt die Frage
Keiner weckt mich zu Leben
Keiner stellt die Frage
Keiner weckt mich zu Leben
Zu Leben
Zu Leben

TO BE CONTINUED

My-my
Here’s a drummer
All melodramatic
I wonder who invited him in
But I’m amused as always
By the glamorous stupidity
It’s the puff and the posh of the way that you are

Sugar coating any word
When it all begins to hurt
A little too Babylonian
Now you’re breaking into tears
Though you know I can’t be near
Such an effortless act

It’s shining through your skin
A skin so paper thin
A living memory
It’s just a breath away
All drawn in pale and grey
So tense and self-aware
I can’t breathe in the absence of beauty

Come sustain my arrogance
With a sigh that never ends
A little falling from the sky
Ain’t gonna make the day worthwhile
Not exactly unpredictable

I love the feeling
The nervous shivering
A skin show of dreams
Olympian ideals undefeated

JUST A FEELING

Silver lining inside me
You’re adapting my every word
Such an eloquent silence
Feeling hurt?
Still you’re moving so lightly
Like you’re hanging within the air
Seems it’s your way of saying
Couldn’t care

It’s just a feeling
Another feeling on the sky
It’s just a feeling
Another feeling coming down
The silver lining
You’ll see it run into the air
For just a moment
Another line that disappears

Guess it’s all second chances
Getting used to the sights and sounds
With the greatest indifference
Running down
All aesthetic behaviour
Still I’m watching your every move
Give and take of the daylight
For the view

BEAT OF THE DRUM

Now one day I woke up to some rules of life
That a serious heart needs a light mind to survive
That if you only hope you won’t get very far
‘Cause dreams call for action

No matter what you want the way is to begin
‘Cause knowing all about it is not the living thing
And those who sit and ask for great things all the time
Well I hope they’ve sorted out the many small things on the line

A focus inside out
The still of the centre
You must live by demand
But also surrender

As the beat of the drum beats the ghosts on the run
So the beat of my heart keeps me wondering
Now it’s been said this world is a stage
Well then if that is true
It’s an unwritten play
That makes being a becoming

It’s so easy seen when it’s someone else
But are you any better when you’re by yourself
‘Cause in this hall of mirrors you’re in a counterpoint
Where it takes one to recognize one

Now there are those who say that life is hard and then you die
Well petty leads to pity if you do not wonder why
‘Cause the way to solve a problem is to get a bigger one
So to those who cry for freedom
Well there’s working to be done

Birgit Løkke: Drums, percussion
Gry Vester-Andersen: Cello
Ida Bach Jensen: Double bass
Johnny Stage: Guitar, backing vocals, farfisa, sitar
Mads Strandgaard: Piano
Martin Hall: Vocals
Thomas Li: Treatments

Design: Kenneth Schultz
Photo: Erik Hansen-Hansen

The cd was released in a limited and numbered edition of 681 copies (18.6 read backwards) and thereby obviously a collector’s item from day one. The release was made in collaboration with The Danish National Radio.

Recorded live at Hindsgavl Castle on June 18, 2005, and mixed the following week at DR by Anders Dohn and Johnny Stage (assisted by Jacob Langkilde).


FACSIMILE

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FACSIMILE

MARTIN HALL
CD
FEBRUARY 2006
PANOPTIKON (OPTIK 06)

On Monday the 13th of February 2006 Martin Hall released Facsimile, his first solo album as a singer in seven years. Apart from ten new tracks the two first editions of the title were released with a bonus dvd featuring a visual setting for the album as a whole.

Having avoided the role as singer and autobiographical songwriter for years, Facsimile features a collection of songs that still represent some of his most personal ever. The impressively orchestrated album is built up around a set of fairly simple ballads, tracks with an emotional span that runs from the subdued and quiet to the highly dramatic.

1. Neglect (2:29)
2. Mimic (4:48)
3. Other Rooms (4:19)
4. Ash and Lemon Water (3:10)
5. April 4 (2:00)
6. A.S.A.P. (1:54)
7. Glistening on the Surface of the World (6:27)
8. … (2:10)
9. Torn Envelope (8:03)
10. Tu Es Mon Image (7:01)

NEGLECT

Habits that I just couldn’t break
Caught within the frame of my ways
Living with the stories and tales
That surrounded my every move

Turning living into a game
Changes made it all stay the same
Paranoid delusions remained
Such an elegant way to run free

But no eye shall absorb any tear that it cries
And no heart ever drown in its beat
Guess I needed to see just how pointless it is
To be right when it’s not what you feel

Shaken by words never meant to be said
Breaking the silence of lost innocence
I just couldn’t see
How you carried the weight of it all

Starving desires, extravagant needs
Caught in the dark of my fading beliefs
I just couldn’t see
How you shielded my every move

I just couldn’t see

MIMIC

The midnight music from a distant room
The morning light, it always comes too soon
Lick your tongue now
Against my desires
Late at night
Even the sounds, they shine

Winter tales that last forever
Summer rites that taste so sweet
Just another chance encounter
Of lines that meet
Of mimic needs

OTHER ROOMS

The cigarette smoke in the air
The smouldering waves everywhere
Full of eyes
Prune coloured eyes

In Moscow and St. Petersburg
The places turn into a blur
In your mind
A violent sigh

The salt water traces that burn on your skin
The words that you hid in letters never sent
Your heartbeat’s a rage never tamed, never shown
Wherever you go, you’re never alone

The alcohol glows for a while
It’s shining like gold in the light
Like a trace
Of halcyon days

Like ghosts in their circuits of loss
You carry your own little cross
As a shield
Against any need

Wherever you go, you leave something behind
The parts of yourself you’ve been trying to find
The smell of the night seems to stick to your skin
All locked in a cage, the journey begins

ASH AND LEMON WATER

Ash and lemon water
Shining on your lips
Whatever you do
Don’t try to resist

It’s the kind of understanding that makes you feel uncomfortable
It’s the kind of circumstances that make you feel so old

You’re all immune
To crowded rooms
Your heart’s made of air
It’s easy to share

You’re sliding down
The open sky
A handle that breaks
Excitement’s a rage

A.S.A.P.

She’s turning away to lie still for a while
Just watching the clouds drifting by on the night sky
The skin of a girl and the face of a child
She touches my hand and suggests that we go out

She’s checking her face in the mirror
Adjusting her hair endlessly
The hard light of the elevator
Follows her out in the street

It’s too hot to sleep

GLISTENING ON THE SURFACE OF THE WORLD

Faces swirling about me
Perfumes and cigarettes
A generation grown up to find all gods dead
All faith in man shaken
All certainty let loose
A world of your desires,
It’s so hard to choose
The tainted belief that runs in our blood
It feeds on the needs that hide in the mud

The soft rush of cars,
The nebulous sky
The look in her eyes
A star cluster shines
Is there any way out of this glittering maze?

Glistening on the surface of the world like oil on water
Drowning in another phantom chase of vain disorder

Exaggerated measures
All faces without names
A neat prosaic figure disappearing once again
Along the sound of distant taxis there’s laughter in the air
You disagree with someone
But no one seems to care
Is there any way back across this desert of scars?
A way to survive the frozen warp of the heart

The late afternoons, the sweet autumn days
The satellite hearts, they’re drifting away
Still you try to believe her every whisper and word
You’re carried by air, the cool diamond wind
But time’s running out and the craving begins
Is there any way out of this contagious ideal?

Glistening on the surface of the world like oil on water
Drowning in another phantom chase of vain disorder

Her warm and passionate breath pouring out into the night
She’s an artificial torrent of cold blooded desire
Just another wild excitement all prone to self destruct
A glamorous confusion addicted to her luck
So tantalizingly elusive, the bells are ringing out
While the lights keep getting brighter, they vaporize the clouds
It’s the sound of souls that splinter, too weak to recognize
If it wasn’t for the glimpse within her eyes

Is there any release from this one disregard?
A way to survive the frozen warp of the heart
Is there any way back across this desert of scars?
A way to believe the distant cry of the heart

TORN ENVELOPE

With lips bleeding red
A flicker of skin
Her one silk caress
It’s a breath just about to begin
She believes
What she feels

The white of her eyes
A glow in the dark
Wherever she is
She’s a silence that shelters my heart
She believes
What she is

And I wish she could see
What she’s doing to me
In spite of the past
In spite of the present
She’s the air I breathe

She’s the trail of the days
My guide and my trace
The world never sleeps
It feeds on her dreaming
As I close my eyes

A taste in my mouth
Of sugary sand
The world seems so small
As it glitters in her open hand
She believes
What she needs

And I wish she could see
What she’s doing to me
In spite of the past
In spite of the present
She’s the air I breathe

She’s the trail of the days
My guide and my trace
The world never sleeps
It feeds on her dreaming
As I close my eyes

In the still of the night, the dim desires
In the faint afterglow of heated cries
On the moon flooded roofs and in her eyes
It all comes alive, it all seems to hide

And the words seem to fall like whispers that drip
Her voice’s like a fog on her moist soft lips
Like a torn envelope that’s sealed with a kiss
How it all seems to break, all seems to shake
In a single embrace

TU ES MON IMAGE

Les rails de la nuit noire
Ils brillent comme lumière
Le monde ne dort jamais
Nourrit nos rêves
Mon image de toi
Est tombée du ciel

Les rêves paraissent continuer
Les chants intérieurs
Murmure des mots inouïs
Tu es mon image
Enfourche la lumière comme une vague

Les yeux d’océan, d’amant ne mentent jamais
Détournons nous comme des étrangers

Tout ce que je veux, c’est tout
Tout ce que je veux, c’est toi
Tu es mon image, c’est toi

Les rails de la nuit noire
Ils brillent comme lumière
Le monde ne dort jamais
Nourrit nos rêves
Mon image de toi
Est tombée du ciel

Tombée du ciel
Tu es mon image
Plus bleus que toute raison
Timides comme tout mensonge

Des yeux d’amants jamais secs
Tu es mon image

“Martin Hall at his peak.”
( * * * * * )
Gaffa (Denmark’s biggest music magazine)

”The perfectionist Martin Hall once again emphasizes his unique talent.”
( * * * * * )
Ekstra Bladet (The Danish equivalent to The Sun)

“A feat of strength, a tour de force.”
( * * * * * )
Gear (Denmark’s leading gadget magazine)

“A music that sounds like a dream.”
( * * * * )
Politiken (The Danish equivalent to The Guardian)

“Frail as crystal that explodes like nitroglycerine in melodramas of melody.”
( * * * * )
Soundvenue (The Danish equivalent to Q Magazine)

”After a break lasting almost seven years Martin Hall is yet again wonderfully present.”
( * * * * )
Citadel (The Danish equivalent to i-D Magazine)

”A unwavering passion, a stylized seduction.”
Information (The Danish equivalent to The Independent)

“The man is in a class of his own.”
Geiger (Danish equivalent to Wire Magazine)

“A minimalistic masterpiece.”
( 10/10 )
Diskant

Facsimile ist ein Meisterwerk.”
Grenzwellen

Biljana Stojkoska: Vocals
Dan Hemmer: Hammond
Efterklang: Instruments
Hélianne Blais: Violin
Ida Bach Jensen: String bass
Johnny Stage: Bass, guitar, backing vocals, arp, farfisa, sitar
Kenny Andy: Drums
Konsort: Choir
Martin Hall: Vocals, drums, piano, guitar, tapes, percussion, electronics
Ole Hansen: Flugelhorn
The Vista Dome Ensemble: Orchestra

Design: Kenneth Schultz
Photo: hansen-hansen.com

Among the guests on the album you will find the internationally acclaimed Danish act Efterklang (signed to the British 4AD label) who performs on the last song on the album, ”Tu Es Mon Image” – a track on which Biljana Stojkoska from another Danish group, the Steve Albini produced Amber, also appears. The orchestral sequences are recorded with The Vista Dome Ensemble which Hall has worked with on several occasions, among other titles on his instrumental score to the Camille album from 2002.

Facsimile was met with a bouquet of overwhelmingly positive reviews and announced as Martin Hall’s best ever by several leading music journalists.

After playing two major concerts at the theatre hall of Aarhus Teater and Store Vega in March 2006, Martin Hall performed one of his most remarkable concerts at the Glyptotek in Copenhagen in October. On this occasion he played live with both his own live band as well as The Danish Chamber Players, a 9-piece chamber orchestra. The concert performance was given a 6 out of 6 star review in leading Danish music magazine Gaffa (the box set Catalogue from 2007 contains a series of recordings from the event).

As a prelude to the concert a radio remix of “Torn Envelope” was released in September 2006. The original 8-minute album version was remixed by The Aeroflot Machine who accentuated the pop qualities of the song in the units remix.

Recorded and mixed in the summer and autumn of 2005 by Martin Hall, Johnny Stage and Efterklang at The Music Room, The Box, Efterklang’s studio and various mobile locations. Biljana Stojkoskas vocals were recorded at Grizzly Bear’s studio, New York City. All tracks produced by Martin Hall except “Torn Envelope” which is produced by Johnny Stage and “Tu Es Mon Image” that is played, arranged and produced by Efterklang. Dvd and visuals produced by hansen hansen.com.


DAMAGE CONTROL

BANDCAMP

DAMAGE CONTROL

MARTIN HALL
CD
JANUARY 2006
PANOPTIKON (OPTIK 05)

Damage Control was released in January 2006 as a detached forerunner of the forthcoming Facsimile album – neither the song nor the four other tracks on the ep was included on the album. Saluting the spirit of the 7” and 12” legacy, the release was meant to be a single project in its own right, an extrovert up-tempo radio bash addressing 21st century consumer fascism.

1. Damage Control (3:38)
2. Swimming Pool Eyes (Winterhill version) (6:44)
3. Vaseline Dream (2400 remix) (7:38)
4. String Quartet Playing in a Refugee Camp (2:53)
5. Play Hard to Get (3:10)

DAMAGE CONTROL

She’s got a heart full of crazy people
She’s clearly not amused
Catching colds and missing trains
Is all she seems to do
The tragic bravados, the bourgeois staccato
Wonder why they bother at all
They’re all talking in headlines but dress out of style
“Get a life and then give me a call”

Every ghetto gladiator, every little Pierrot
Looking like a drag magician in another wasted show
There’s a beggar on each corner, a stench in the air
Life’s a song that’s dedicated to the lovers at Tiananmen Square

So shit in your hat and place your head on a chair
This journey’s clearly not going anywhere
Turn on the tv, the lie of the land
A string quartet playing in a refugee camp
Start with a kiss and soon you’ll need vaseline
The damage control of any tangerine dream
Play hard to get, you’ll end on the run
‘Cause everyone’s bored with all this soft-porn

Confetti-covered, all animated
Party eyes that never close
A wave of raving faces with sparkling smiles
They look the same wherever she goes
The white shirts and big lips
All drowning in honey
Smacking tongues while they’re shaking their heads
Little socialites with portable roots
In her eyes they’d be better off dead

But the shops and the markets
The wild consumer craze
Seem to bind it all together and somehow make their day
All these harlequin girls with swimming pool eyes
If nothing else matters
They really took advantage of their time

Anders Remark: Guitar, emax
Anette Slaatto: Viola
Dan Hemmer: Rhodes
Gisli: Rap
Gry Vester-Andersen: Cello
Hans Nybo: Saxophone
Ida Bach Jensen: String bass
James Crabb: Accordion
Johnny Stage: Guitar, percussion
Karoliina Koivisto: Violin
Ketil Duckert: Trumpet
Lise Munch: French horn
Lotte Arnsbjerg: Vocals
Marie Carmen Koppel: Vocals
Martin Hall: Vocals, keyboards, programming, string arrangement
Mimi Kjær: Piano
Minh Le: Drums
Morten Jacobsen: Bass
Sofie Darting: Vocals
Thomas Li: Protools and treatments

Design: Kenneth Schultz
Photo: Hansen-hansen.com

Among the new Hall collaborators on the release you’ll find Summerhill, a Danish group featured as Winterhill as a remix/re-make unit. Their version of the song, “Swimming Pool Eyes, was later included on Hall’s 2008 single compilation album Catalyst.

The title track entered The Danish Broadcasting Corporation’s P3 and P4 airplay chart in week 4 (Danish National Radio) and made its debut at the official sales chart at #16 in week 7, 2006.


THE LAST ROMANTIC

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THE LAST ROMANTIC

MARTIN HALL
TWO-VOLUME NOVEL
AUGUST 2005
PEOPLE’S PRESS (ISBN 87-91693-09-8)

Martin Hall’s long awaited novel The Last Romantic was released on August 25, 2005, a monumental piece of work divided into two volumes covering more than 700 pages.

The story begins in the summer of 1980 and ends in the autumn of 2005, a time span in which the reader follows the escapades and development of the book’s narrator, 18 years old in 1980, making him one year older than the author himself. It’s a story crashing head-on into the myths and excessive lifestyle of Copenhagen’s bohemian crowd of the period.

It took Hall five years to finish the book and the novel was without a shadow of doubt his most significant literary achievement at the time – a statement substantiated by the fact that he received several grants from The National Fund for the Endowment of The Arts during the process.

Genre: Novel
Pages: 705
Design: Kenneth Schultz
Photo: Casper Sejersen

“It was the summer of 1980. I was 18 years old, 1,82 tall and about 73 kg heavy. When Ronald Reagan was elected President of the United States in November, I was down to about 65. Some might say it was due to all the amphetamine I took, but it was just as much an attitude thing."

”One of the best descriptions of Danish cultural life (or lack of the same) in the last 25 years.”
( * * * * * )
Citadel (the Danish equivalent to i-D)

”A magnificent roguish and excessively rich fantasy … Gripping and amusing, intelligent and, I dare say: edifying.”
Politiken (the Danish equivalent to The Guardian)

”An intellectual feat of strength.”
( * * * * * )
Ekstra Bladet (the Danish equivalent to The Sun)

”Sex, drugs and rock’n’roll mixed with high-flown existential philosophy and a skewering critical angle to modern culture.”
Berlingske Tidende (the Danish equivalent to The Times)

”The best book I’ve read about ”the sons of no generation” as Hall calls them.”
( * * * * * )
Nordjyske Stiftstidende

”Seldomly gripping portrait of the eighties and nineties.”
( * * * * )
Femina

The following passage is taken from the publishers’ foreword to the book:

“Throughout human and art history, the romantic struggle is a continuous motif. In the words of Sartre, this is nostalgia for the future – the desire to live life to its fullest, knowing that this will never be realized, and a state of melancholy for the same reason. In Martin Hall’s monumental novel, a gigantic epoch that stretches over 25 years from 1980 to 2005, the storyteller is a young author who matures in the course of the story: From the decadent punk and underground art scenes of the 80’s through the glittering excesses of the 90’s to the level-headedness of the mature man, the question remains; how do you keep your romantic ideals when the world around you doesn’t respond?

The Last Romantic is an extravagant tale about the children of the 80’s, the “sons of no generation” as the author himself has described the iconolaters of this age in a song. It is a novel about zeitgeist and daring, about speed freaks and dandies, dealers, rock’n’roll animals and S/M-parties, all written from the perspective of the particular temper of the times – a complete novel about white nights, the search for spirituality, casual sex, delirious love affairs, crass comedy and philosophy, all gathered in the experiences of a generation, who so far hasn’t had their literary testament written.

More than anything, The Last Romantic is the great novel about becoming a man – at all times.“


The Last Romantic has been translated into German and Lithuanian. It’s later been released as a paperback edition on Gyldendal, Denmark’s largest publishing house. It remains Martin Hall’s most read book and continues to cause controversy due to its roman à clef status.

”One of the best descriptions of Danish cultural life (or lack of the same) in the last 25 years.”
( * * * * * )
Citadel (the Danish equivalent to i-D)

”A magnificent roguish and excessively rich fantasy … Gripping and amusing, intelligent and, I dare say: edifying.”
Politiken (the Danish equivalent to The Guardian)

”An intellectual feat of strength.”
( * * * * * )
Ekstra Bladet (the Danish equivalent to The Sun)

”Sex, drugs and rock’n’roll mixed with high-flown existential philosophy and a skewering critical angle to modern culture.”
Berlingske Tidende (the Danish equivalent to The Times)

”The best book I’ve read about ”the sons of no generation” as Hall calls them.”
( * * * * * )
Nordjyske Stiftstidende

”Seldomly gripping portrait of the eighties and nineties.”
( * * * * )
Femina


INTRODUCING ROSELAND

BANDCAMP

INTRODUCING ROSELAND

MARTIN HALL
CD
APRIL 2005
PANOPTIKON (OPTIK 04)

Introducing Roseland was Martin Hall’s first release as a solo artist for more than six years. The ep contains five at the time newly written Hall tracks, first and foremost the grandiose opening song “Roseland” that went straight into the upper half of the airplay chart of the National Danish Radio at the time of its release.

1. Roseland (4:32)
2. You Know Why They Hate Me, Don’t You? (4:14)
3. Coda (6:41)
4. Minor Frame (2:39)
5. Replacing Events (1:30)

ROSELAND

29 believers in the room next door
Guess the myth didn’t equal the score
While they’re praising the legend
They can’t wait for his fall
Never was enough room for us all

Not enough air to breathe
Or time to leave
Trading in make believe
For the time being

Meet me at Roseland
Meet me at summer’s end
No one will notice
Anywhere that we meet
Promise you’ll be there
Don’t leave me waiting
You’re all I’ve ever known
All I’ll ever know

All the painted faces
Every painted smile
So allergic to all that they hide
Guess I needed the feeling
Every scandalous high
Got accustomed to life on the line

I saw all the stories end
Begin again
But only a single face
Stayed the same

Meet me at Roseland
Meet me at summer’s end
No one will notice
Anywhere that we meet
Promise you’ll be there
Don’t leave me waiting
You’re all I’ve ever known
All I’ll ever know

Wherever you go
Wherever you’ll show
I’ll be waiting for you

YOU KNOW WHY THEY HATE ME, DON’T YOU?

You know why they hate me, don’t you?
It’s just a matter of time, so they say
They won’t forgive any traitors
Whenever they say I’m ungrateful
Just remember the price that I’ve paid
I got so tired parading in rooms badly lit

In the stardom of my boredom
My British manners never failed
How they hated my behaviour

But you
You shine like the glamour sky
You ride on the turning tide
At least for a while
And me
I’ll wipe off banalities
Whenever they’re thrown at me
I do it so well

You know why they hate me, don’t you?
There’s not a lot to be said
I didn’t need invitations
Just don’t let your manners escape you
Although it’s tempting, there’s nothing to prove
I made my choice
Now it’s all up to you

You’re high as a falling star
Just don’t let it go too far
You’ve seen where it ends
The game
At best it’s acceptable
At worst it’s despicable
I’ll leave it to you

CODA

Tenderhearted words
Set a thousand dreams alight
Every little hurt
Seems to shine this time of night

Each generation
They know what it’s like
Feels never ending
The way in is out

Faces burning like the sun
The lights are on
All night
Seen your eyes a thousand times
Within the crowd

Whispers of the empty streets
Inside of me
All night
Crowded rooms all drained of sound
Keep spinning round

Lying in her arms
In the shelter of her heart
Her Moroccan charm
Makes me proud to wear these scars

The city mirrors
They shine in my blood
Like new diseases
That can’t get enough

Faces burning like the sun
The lights are on
All night
Seen your eyes a thousand times
Within the crowd

Whispers of the empty streets
Inside of me
All night
Crowded rooms all drained of sound
Keep spinning round

Faces in the rain
All over this tinsel town
Every now and then
Got to take a chance again

MINOR FRAME

Crowded Saturdays
Guest among ghosts
A girl made of shivers
Girls on their own

Rolled down shades
Sweet, harsh sweat
It’s the choked laughter
The unmade bed
All the things you might remember
Things you might forget

Looking young and old
In the same glance
Nervous tenderness
But steady at hand

Curly hair
And vinyl sounds
Guess it’s carved within the faces
Carved and painted down
A cigarette that’s burning
Along the line

I guess that she’s the one you won’t forget

Andrea Pellegrini: Vocals
Astrid Nora: Backing vocals
Chamberlain String Quartet: Strings
Christine: Melodica
Dan Hemmer: Hammond
Hans Nybo: Saxophone
Henrik Marstal: Autoharp
Ida Bach Jensen: Bass, string arrangement
Johnny Stage: Bass, guitar, vocoder
Karin Ørum: Backing vocals
Lotte Arnsbjerg: Backing vocals
Martin Hall: Vocals, piano, instruments
Morten Friis: Drums, percussion
Nils Henriksen: Strings
Ole Hansen: Flugelhorn
Tanja Birkelund: Violin
Tanja Thulau: Backing vocals

Design: Kenneth Schultz
Photo: Hansen-hansen.com

The other songs on the record is the tongue-in-cheek’ish ”You Know Why They Hate Me, Don’t You?” followed by ”Coda” and ”Minor Frame”, two titles that both show the singer with all guards down. The last track is a string arrangement performed by Ida Bach Jensen.

The ep is co-produced by Johnny Stage (Sort Sol) and contains appearances by musicians such as Morten Friis from internationally known Danish chart breakers Safri Duo as well as Tanja Thulau from Luke.

Introducing Roseland was released at the end of April 2005 as a prelude to Martin Hall’s first concert for (likewise) more than six years, the highly anticipated Hindsgavl concert (a Danish castle).


DAS MECHANISCHE KLAVIER

BANDCAMP

DAS MECHANISCHE KLAVIER

MARTIN HALL/ANDREA PELLEGRINI/HERBERT ZEICHNER
CD
JUNE 2004
PANOPTIKON (OPTIK 03)

Featuring the star from Martin Hall’s 2002 work Camille, the mezzo-soprano Andrea Pellegrini, Das Mechanische Klavier was launched in the summer of 2004. The music was recorded with an ensemble of 14 musicians in the concert hall of The Royal Danish Music Conservatory with additional post-production made in The Music Room. The album is written and produced by Martin Hall. It also features the narrator Herbert Zeichner.

1. Kopfkino 1 (1:21)
2. Das Mechanische Klavier (4:23)
3. Kopfkino 2 (4:14)
4. Blindness and Light (2:28)
5. Kopfkino 3 (0:57)
6. Verschwendung (3:11)
7. Kopfkino 4 (2:11)
8. The Stranger in Your Voice (1:08)
9. Lining Up for the Fall (2:34)
10. Kopfkino 5 (0:49)
11. A Heap of Broken Images (2:28)
12. High on the Waves of Love (4:48)
13. Somewhere Nearer the End (2:34)
14. Kopfkino 6 (1:48)

KOPFKINO 1

Es fällt mir schwer, meine Entrüstung zu erklären. Meine Entrüstung zu rechtfertigen. Wie sollte ich mich in einer Zeit wie dieser überhaupt irgendwie verständlich machen können? Einer Zeit, in der der Name des Spiels Verschwendung heißt – eine Tugend, eine Ehrensache. Wie Tropfen eines Puzzlespiels aus Wasser fallen die Wörter, verschwinden in Hotels, die von unerfüllten Träumen bewohnt werden.

Wiederum steht sie mit ihrer von Niederlagen gequälten Seele vor mir, verhüllt in einer Zartheit, die sich wie Tau langsam um uns legt. Wir sind direkte Zeugen der ungeschickten Vorkehrungen der Liebe, einer Reihe lebendiger Erinnerungen, die sich hart wie Knochen anfühlen. Wir kennen keine Versöhnung. Nur die Routine verleiht Sicherheit; draußen lauert der Dschungel.

DAS MECHANISCHE KLAVIER

Bier
Das mechanische Klavier
Alle trinken dunkles Bier
Alle trinken Bier und reden laut
Schreien auf und lachen
Schreien auf und lachen
Aber über was reden sie?
Und über was lachen sie, wenn sie nichts hören können?

Sie reden vom trinken
Sie leben um zu trinken
Und sie sterben, weil sie trinken
Das dunkle Bier
Das dunkelste Bier
Bei dem mechanischen Klavier

KOPFKINO 2

Eine Langeweile, die wie Krebs in der Brust nagt. Ein Gewohnheitsdenken, bei dem jeder einzelne Gedanke seine eigene Seriennummer besitzt. Was soll man mit sich selbst anfangen, wenn sich das Dasein auf einen Satz sich wiederholender Muster begrenzt? Das Leben stellt einen Prozess dar, bei dem mit der Zeit alles immer gleichartiger und trotzdem immer schwieriger wird … wie ein Stück unverständlicher Poesie, dem der Leser tagtäglich den Rücken kehrt.

Ich suche immer noch nach ihr. Sie ist die ganze Zeit bei mir, und trotzdem suche ich immer noch nach ihr. Jeden Tag kontrolliert sie ganz genau im Spiegel, ob sie neue Falten bekommen habe … genau so, wie sie es damals tat. Meistens tut sie es mit einer beinahe selbst verleugnenden Attitüde, als wollte sie im Grunde nur als ein ironischer Kommentar ihrer selbst erscheinen. Ich kann mir unmöglich vorstellen, was sie sieht. Die Tatsache des Lebens? Des Lebens Betrug? Ein sexuelles Ornament? Gottes Antlitz, das sich in seiner eigenen Fiktion spiegelt?

BLINDNESS AND LIGHT

Strawberries in Paris
Raspberries in June
The wine and the roses
The wonderful moon
A cool summer breeze distracts me
A scent in the air
A sip of the wine
But it’s still there
A sense of nostalgia haunts me
Of sad love affairs

We’re intoxicated
We’re falling apart
You’re wasting your sweet breath
All over my heart
Whenever the spirit takes you
It’s taking you high
The crest of the words
The look in your eyes
We’re drowning in melodrama
In blindness and light

KOPFKINO 3

Eine Stille wie bei einem Begräbnis in einer Kathedrale senkte sich. Kurz danach entschuldigte er sich, und natürlich verzieh ich ihm. Wohl mehr aus Freundlichkeit als aus eigentlicher Fürsorge. Sein Gesicht war eine Kruste der Enttäuschung. Später folgte eine Reihe eintöniger Anklagen, eine jede ruckweise und bitter empor gespritzt. Dann war er wieder still. Wie ein Mann, der nur noch auf den Tod wartete.

VERSCHWENDUNG

Verschwendung ist der Name des Spiels
Eine Tugend
Eine Ehrensache

Meine Seele ist ein Hotel
Meine Liebe eine Einrichtung
Meine Liebe
Meine Liebe

Ich bin ein Matador
Ein Toreador
Ein mutiger Kujon
Ein alter Hund
Eine Wiederkunft aus meiner Kindheit
Ein Schauspieler in einer unfreiwillingen Erinnerung

Keiner stellt die Frage
Keiner weckt mich zu Leben
Keiner stellt die Frage
Keiner weckt mich zu Leben
Zu Leben
Zu Leben

KOPFKINO 4

Der Herdentyrannei bestialische Bühne. Kulissen und Varietees. Wie ein nie nachlassendes Echo der Barbarei meiner eigenen Seele wurde ich vorwärts getrieben in der Welt, dieser sonderbar konstruierten Realität, ohne Mitgefühl oder Besinnung. Sie erkannte meine Wurzellosigkeit wieder, ihr erster Satz wurde mit klinischer Präzision heruntergeleiert. Auf Satz zwei folgte dann ein seltsam erstarrter, theatralischer scheeler Blick. Sie war nicht einleuchtend hübsch, aber auch nicht hässlich. Das Haar fiel ihr in übertrieben parfümierten Wellen ins Gesicht, während sie sprach. Sie sprach von Geld.

Später befanden wir uns allein in einem geschlossenen Raum. Ganz eindeutig war die Bar ihr wahres Element gewesen, außerhalb dieses Rahmens verblasste ihr Charme leider ziemlich.

THE STRANGER IN YOUR VOICE

I always wait
For the light
For the day
When love has gone
All of the time
All of the lies
Turn inside of me

The stranger in your voice
Comes and goes
Never shows
I’m on my own
Feeling amused
Feeling accused
I’m a thousand miles away

Every tragic love affair will end itself
Always founded on a tragic lack of taste
No sweet applause
Not even a word
From the stranger in my heart

LINING UP FOR THE FALL

Lining up for the fall
Volunteers, none at all
Don’t believe what they say
They want you to take their place

Honey, say no
Turn around, go
Baby, come back again and stay
If just for the day

Champagne and grapes
Pieces of 8
No matter what you do or say
You’re feeding the waste

KOPFKINO 5

Nackt, eingeschüchtert und lächerlich anzusehen. Ihn auf die Weise zu sehen erfüllte mich mit einer ganz absurden Freude. Ich war zu einem Monster geworden, kämpfte jedoch nicht länger dagegen an. In meiner heroischen Schönfärberei der Lage ging ich hingegen so weit, mir selbst einzubilden, etwas Gutes zu tun.

Ich erzählte ihr nichts mehr über meine Arbeit. Sie verdiente es nicht, etwas über die Opfer zu wissen, die ich täglich für unser Dasein brachte.

A HEAP OF BROKEN IMAGES

Don’t you feel like you’re running away when you’re gone?
Don’t you feel a bit lonely?
Don’t you feel you’ve been hiding away far too long?
Don’t you feel on your own?

Hey!
I thought that kind of feelings belonged in films like “Death in Venice”
Hey!
I thought that kind of peeping was better done in “Death in Venice”
Never read the book

You’re such a delicate sight
Crawling around the streets at night
Always in need of a line
Misery tends to blind my eyes

HIGH ON THE WAVES OF LOVE

Everybody loves a little game
Hunting in the fields of lovers’ bait
Working men with appetite for life
Get the boys together
Hanging out in bars without their wives

When everybody’s high on the waves of love, boy
High on the waves of love
Everybody gets high on the waves of love and funny games
But it leaves me empty as a Chinese box

Saturday, the world is on its feet
Party girls all anxious for a treat
Looking for a stairway to the stars
They got one ambition
Something purple and it ain’t a heart

When everybody’s high on the waves of love …

When I met you, I went down in flames
Never thought I’d ever feel the same
Four weeks later things, they took a change
Shaken like a sailor
When I met you with another date

When everybody’s high on the waves of love …

Anyway, I met you brother soon
Pissed and swollen like a red balloon
Took him for a ride and made a pass
Such an easy target
Told him that his brother was an arse

When everybody’s high on the waves of love …

I became his girl and told him lies
Told him that you’d brutalized my life
He got mad and ended up in jail
Broke your nose and shoulder
He’s still living in a prison cell

When everybody’s high on the waves of love …

So at last I got myself a gun
Settled for a lifetime on the run
Parked outside the local titty bar
Jesus, how they shake them
When you left, I shot you from the car

SOMEWHERE NEARER THE END

Somewhere nearer the end
Hope to see you again
Brutal honesty pays
Hope to recall your face

Bohemian manners don’t impress me
And self righteous banners don’t distract me
Not at all

Still you told me these wonderful stories
And you sang me these wonderful tunes
See them running down mirrors inside me
See them reaching as high as the moon

You want the best of both worlds
You want the best of all worlds

KOPFKINO 6

Metaphysische Diskussionen in einer Bierstube: nichts ist, nichts wird, nichts ist nicht. Wir fassen uns selbst als rationale Wesen auf, die Tatsachen akzeptieren und Argumente respektieren, in Wirklichkeit jedoch glauben wir nur an das, an das zu glauben wir gelernt haben. Unsere Spiritualität ist eine mechanische Konstruktion.

Niemand kann gegen Vermutungen aufbegehren, die nicht formuliert worden sind. Weder sie noch ich. Wir sind an unsere Vermutungen gebunden. Gebunden an das gegenseitige fehlende Verständnis von uns selbst. Mutige Feiglinge sind wir, Gespenster aus dem Spanischen Bürgerkrieg, Fetzen von Erinnerungen an etwas, das einst geschah.

Wir sind das Geschehene. Wir sind Schwund.

Andrea Pellegrini: Vocals
Anette Slaatto: Viola
Carsten Kronow: Tuba, saw
Dennis Jørgensen: Timpani
Gry Vester-Andersen: Cello
Hans Nybo: Bassoon
Herbert Zeichner: Narrator
Ida Bach Jensen: String bass
James Crabb: Accordion
Jonathan Ofir: Violin
Karoliina Koivisto: Violin
Martin Hall: Instruments
Mimi Kjær: Piano
Ole Hansen: Flugelhorn

Design: Kenneth Schultz
Photo: Casper Sejersen

With German scholar Herbert Zeichner as the narrator (the voice on the recitation pieces “Kopfkino 1–6”), Das Mechanische Klavier is a tale of the lost – a literary journey into the halls of recollection of an ageing man with a dubious past. It’s a work based on assumptions, an unfolding story of personal decline.

Das Mechanische Klavier represents the first collaboration between Martin Hall and Herbert Zeichner. Later they worked together on Hall’s critically acclaimed 2009 album Hospital Cafeterias. Zeichner also featured in Hall’s stage play Kinoplex (2010) as well as on the Martin Hall/Tone album Performing Apart released in 2012. Herbert Zeichner died in December 2011 at the age of 70.

The following live performance of the album’s title track is taken from Hall’s Kinoplex stageplay in 2010, where Andrea Pellegrini performs the song. At the end of the video clip Herbert Zeichner also features, this time, however, in a completely different lyrical context:


KOPFKINO 1

Es fällt mir schwer, meine Entrüstung zu erklären. Meine Entrüstung zu rechtfertigen. Wie sollte ich mich in einer Zeit wie dieser überhaupt irgendwie verständlich machen können? Einer Zeit, in der der Name des Spiels Verschwendung heißt – eine Tugend, eine Ehrensache. Wie Tropfen eines Puzzlespiels aus Wasser fallen die Wörter, verschwinden in Hotels, die von unerfüllten Träumen bewohnt werden.

Wiederum steht sie mit ihrer von Niederlagen gequälten Seele vor mir, verhüllt in einer Zartheit, die sich wie Tau langsam um uns legt. Wir sind direkte Zeugen der ungeschickten Vorkehrungen der Liebe, einer Reihe lebendiger Erinnerungen, die sich hart wie Knochen anfühlen. Wir kennen keine Versöhnung. Nur die Routine verleiht Sicherheit; draußen lauert der Dschungel.

KOPFKINO 2

Eine Langeweile, die wie Krebs in der Brust nagt. Ein Gewohnheitsdenken, bei dem jeder einzelne Gedanke seine eigene Serienummer besitzt. Was soll man mit sich selbst anfangen, wenn sich das Dasein auf einen Satz sich wiederholender Muster begrenzt? Das Leben stellt einen Prozess dar, bei dem mit der Zeit alles immer gleichartiger und trotzdem immer schwieriger wird … wie ein Stück unverständlicher Poesie, dem der Leser tagtäglich den Rücken kehrt.

Ich suche immer noch nach ihr. Sie ist die ganze Zeit bei mir, und trotzdem suche ich immer noch nach ihr. Jeden Tag kontrolliert sie ganz genau im Spiegel, ob sie neue Falten bekommen habe … genau so, wie sie es damals tat. Meistens tut sie es mit einer beinahe selbst verleugnenden Attitüde, als wollte sie im Grunde nur als ein ironischer Kommentar ihrer selbst erscheinen. Ich kann mir unmöglich vorstellen, was sie sieht. Die Tatsache des Lebens? Des Lebens Betrug? Ein sexuelles Ornament? Gottes Antlitz, das sich in seiner eigenen Fiktion spiegelt?

KOPFKINO 3

Eine Stille wie bei einem Begräbnis in einer Kathedrale senkte sich. Kurz danach entschuldigte er sich, und natürlich verzieh ich ihm. Wohl mehr aus Freundlichkeit als aus eigentlicher Fürsorge. Sein Gesicht war eine Kruste der Enttäuschung. Später folgte eine Reihe eintöniger Anklagen, eine jede ruckweise und bitter empor gespritzt. Dann war er wieder still. Wie ein Mann, der nur noch auf den Tod wartete.

KOPFKINO 4

Der Herdentyrannei bestialische Bühne. Kulissen und Varietees. Wie ein nie nachlassendes Echo der Barbarei meiner eigenen Seele wurde ich vorwärts getrieben in der Welt, dieser sonderbar konstruierten Realität, ohne Mitgefühl oder Besinnung. Sie erkannte meine Wurzellosigkeit wieder, ihr erster Satz wurde mit klinischer Präzision heruntergeleiert. Auf Satz zwei folgte dann ein seltsam erstarrter, theatralischer scheeler Blick. Sie war nicht einleuchtend hübsch, aber auch nicht hässlich. Das Haar fiel ihr in übertrieben parfümierten Wellen ins Gesicht, während sie sprach. Sie sprach von Geld.

Später befanden wir uns allein in einem geschlossenen Raum. Ganz eindeutig war die Bar ihr wahres Element gewesen, außerhalb dieses Rahmens verblasste ihr Charme leider ziemlich.

KOPFKINO 5

Nackt, eingeschüchtert und lächerlich anzusehen. Ihn auf die Weise zu sehen erfüllte mich mit einer ganz absurden Freude. Ich war zu einem Monster geworden, kämpfte jedoch nicht länger dagegen an. In meiner heroischen Schönfärberei der Lage ging ich hingegen so weit, mir selbst einzubilden, etwas Gutes zu tun.

Ich erzählte ihr nichts mehr über meine Arbeit. Sie verdiente es nicht, etwas über die Opfer zu wissen, die ich täglich für unser Dasein brachte.

KOPFKINO 6

Metaphysische Diskussionen in einer Bierstube: nichts ist, nichts wird, nichts ist nicht. Wir fassen uns selbst als rationale Wesen auf, die Tatsachen akzeptieren und Argumente respektieren, in Wirklichkeit jedoch glauben wir nur an das, an das zu glauben wir gelernt haben. Unsere Spiritualität ist eine mechanische Konstruktion.

Niemand kann gegen Vermutungen aufbegehren, die nicht formuliert worden sind. Weder sie noch ich. Wir sind an unsere Vermutungen gebunden. Gebunden an das gegenseitige fehlende Verständnis von uns selbst. Mutige Feiglinge sind wir, Gespenster aus dem Spanischen Bürgerkrieg, Fetzen von Erinnerungen an etwas, das einst geschah.

Wir sind das Geschehene. Wir sind Schwund.


All lyrics written by Martin Hall. German translations made by Herbert Zeichner.


A WISH OF LIFE

BANDCAMP

A WISH OF LIFE

BEFORE
CD
DECEMBER 2003 (ORIGINAL RELEASE JUNE 1982)
KARMA (KMCD211003)

A Wish of Life is an album by danish post-punk group Before originally released in the summer of 1982. This cd release contains singles and live tracks where Martin Hall appears.

Before was formed in September 1980 by singer and figurehead Fritz ”Fatal” Bonfils and a 17-year-old Martin Hall on guitar. Hall left the band after the group’s legendary support gig at New Order’s first concert in Denmark in May 1981. Read more about the early period  here.

1. A Wish Of Life (3:25)
2. Baby Sea (3:37)
3. You Can Dream (1:32)
4. Schizophrenia Minds (4:09)
5. Surrender (3:26)
6. The Valleys Of Peace (1:29)
7. To Rise (5:29)
8. Special Surprise (3:47)
9. Grey Day (3:45)
10. Wasteful Hours (4:32)

 

11. Silence (2:28)
12. Unexpected Emotions (2:58)
13. Sister Culture (3:07)
14. Some Hands (3:24)
15. Wasteful Hours (Live) (5:36)
16. Metal Dreams (Live) (4:08)
17. Alle Fangerne (Live) (3:05)

Casper Holm: Guitar
Fritz “Fatal” Bonfils: Vocals
Lars Bo “Tolle” Tolstoy Jacobsen: Bass
Mads Nordheim: Keyboards
Martin Hall: Violin, guitar
Michael Rasmussen: Drums

Design: Maiken Sylvester

Before was formed in September 1980 by Fritz ”Fatal” Bonfils and Martin Hall. Together with drummer Michael Rasmussen (later The Sandmen) and bassist Flemming Andersen (Art in Disorder) the group played its first concert in Rockmaskinen on Christiania in November the same year after which Lars Bo “Tolle” Tolstoy Jacobsen undertook the task of playing bass.

More than a year after Hall’s exit from the group Before released the debut album A Wish of Life (summer 1982). The cd version of the record also features the two singles Silence and Sister Culture on which Martin Hall played violin as well as three live tracks featuring Hall as guitarist.

Martin Hall co-wrote the tracks “Surrender”, “To Rise”, “Wasteful Hours”, “Metal Dreams” and “Alle Fangerne”.


THE WHEELCHAIR WILDSTYLE SOUNDTRACK

BANDCAMP

THE WHEELCHAIR WILDSTYLE SOUNDTRACK

MARTIN HALL/JEFF MATTHEWS
CD
NOVEMBER 2003
ARTPEOPLE (APDC60054)

The book and the cd Wheelchair Wildstyle is a collaboration between Martin Hall and Danish-Australian author Jeff Matthews, the follow-up to his successful 2001 debut Halality. The book was released with an enclosed soundtrack – The Wheelchair Wildstyle Soundtrack – written and produced by Martin Hall.

As a parallel to the 63 written chapters in the book, the cd contains 63 minor pieces of music and dramatized events, miniature readings as well as interview fragments where the author comments on the unfolding story.

The track “Wallpaper”, recorded with the new Hall project Aeroflot, was furthermore released as a separate promotion single.

1. Welcome (2:45)
2. Wake (0:36)
3. Wheelie (0:52)
4. Waving Bye Bye (0:46)
5. World Wide Wok (1:05)
6. Wrong Way (0:05)
7. Warning (0:48)
8. Waiting Hours (1:03)
9. Wanted (0:49)
10. Wings (0:29)
11. Wichser (0:27)
12. Wallpaper (2:47)
13. Wishbone (0:46)
14. Warner Bros. (0:24)
15. Work (1:15)
16. Weiter Treiben (0:53)
17. Wunderbaum (0:30)
18. Wonder Boys (0:43)
19. Wc (0:15)
20. Wulmstorf (0:07)
21. Werbeschrift (0:56)
22. Würstchen Stand (2:18)
23. Wc 2 (0:55)
24. Wüstung (0:59)
25. Welt Ende (0:05)
26. Wemperhaardt (0:51)
27. Woippy (0:11)
28. Wastelands (0:44)
29. Waterloo (0:20)
30. Wildcard (0:51)
31. Wagon (0:38)
32. Woofer (0:50)
33. Weltschmerz (0:55)
34. Wash (0:42)
35. Weissmüller (0:11)
36. Waterfront (0:26)
37. Whirlpool (0:20)
38. Wankers (0:52)
39. Waltzing Mathilda (0:53)
40. Whassup? (0:35)
41. Wigwam (1:13)
42. William S. Burroughs (1:02)
43. Wet (1:04)
44. Windsurfers (0:41)
45. Whereabout? (0:12)
46. What’s Cooking? (0:50)
47. Wilderness (2:22)
48. Wag The Dogs (0:09)
49. We Are In Control! (0:33)
50. Wonderland (0:12)
51. Water Lilies (0:32)
52. Wall Street (0:28)
53. Waltz (0:18)
54. Wendy, We Can Fly! (0:10)
55. Whopper (0:26)
56. Wack (1:31)
57. Water Lilies 2 (0:33)
58. Wreck (0:12)
59. Whore (0:16)
60. Windup (0:30)
61. Weightless (0:23)
62. Wake (0:53)
63. Whiteout (2:44)

Aeroflot: Vocals
Aud Wilken: Vocals
Augustus Rex: Narrator
Bobby Joe: Rapper
Irma Victoria: Vocals
Karoliina Koivisto: Vocals
Katja Andersson: Vocals
Martin Hall: Instruments

Design: Sigrún Gudbrandsdottir

Among the contributors on the soundtrack you can find the Finnish débutante Karoliina Koivisto, the Eurovision Song Contest performer Aud Wilken, Saccharin singer Katja Andersson, the late Irma Victoria, narrator Augustus Rex, rapper Bobby Joe, a Russian nurse, an anonymous man and his girlfriend, a stewardess, a couple of Jeff Matthews’ family members, a trumpet player, a news reader, two drunken people, an anonymous thinker, two actors, a scientist and an audience.


MUSIC HALL

BANDCAMP

MUSIC HALL

MARTIN HALL
CD
SEPTEMBER 2003
PANOPTIKON (OPTIK 02)

At the time of its release Music Hall – subtitled “Martin Hall songs performed by starlets, divas, chanteuses and comediennes” – presented its audience to 18 new songs and recordings performed by some of the best new female artists in contemporary Danish music (many of them were nominated at the Danish Music Awards the same year). The album also spawned the hit single “She Shines”.

1. Another Heart Laid Bare (3:19)
2. The Girl with the Moon in Her Eyes (3:15)
3. Lovers in the Rain (4:26)
4. Doing The Continental (2:37)
5. Catching the Dust 2:03)
6. Documentary 1 (Mads Nørgaard) (0:34)
7. She Shines (3:51)
8. Pantomime (2:29)
9. Face Map (1:51)
10. Moody (4:27)
11. Documentary 2 (Talkshow Guest) (1:02)
12. The Stranger in Your Voice (1:08)
13. Blue Eyes Bolero (2:50)
14. Etiquette (3:13)
15. Documentary 3 (Jeff Matthews) (1:38)
16. Introducing Burning Sugar (1:19)
17. Burning Sugar (4:13)
18. Goodnight (2:23)

ANOTHER HEART LAID BARE

Another heart laid bare on the doorstep to my exile
Another pantomime to disbelieve
I see your bended head
Always humble in the daylight
Playing the servant’s role to never see

Of all the images that you left for my keeping
The one I like the most is the world outside
I never thought I would but the distance seems so perfect
I can’t deny the fact that I’m pleasantly surprised

Another victim cries
Pointing fingers at the heavens
Declaring me the crime of centuries
The traces on my skin
They keep shining in the nighttime
A fingerprint on every memory

THE GIRL WITH THE MOON IN HER EYES

Hey
See that smile
High and dry
It’s the girl with the moon in her eyes
God
What a dress
What a mess
I wish I could look something like that
Chaotic and genius

Bang
There she goes
What a show
Better hold on to all you’ve got
She’s tearing the world apart
Guys in the crowd
Hanging out
Never know what to do
It’s a zoo
Behaving like imbeciles on the loose

Whenever she’s walking down the street
She’s breaking the heart of boys she meets
You wouldn’t believe the things she’s capable of
She’s dropping a handkerchief or two
And suddenly everyone’s acute
‘Cause all of the world wanna follow her home

She’s got them all in her hand
Her song and her dance’s gonna get you
It’s such a wonderful sight
The look in her eyes is divine
You simply ain’t got a chance
It’s out of your hands, better run boy
‘Cause at the end of the night
She’s kissing goodbye with them all

Hey
Do you see what I mean?
It’s the girl with the moon in her eyes
Don’t try to fight
Walk on by
If she gets you
You’re out of your mind
And into a bag of mice

LOVERS IN THE RAIN

It’s like a merry go round
That goes up and down all the time
You’ll see a face in the crowd
Without any doubt in your mind

You just know that he’s the one
Or that she’s where you belong
In her loving arms, the only place to be

Lovers in the rain
Strangers on a train
Everything will change and stay the same
Sweet as any lover’s words
Hard as any lover’s hurt

Lovers in the rain
Lovers on their way
Lovers on a thousand midnight trains
Hidden like a memory
A little bit of history

Another Hemingway girl
Who’s turning the world for a boy
You see them hanging around
In cafés and bars all the time

When they say the magic words
It’s the sweetest sound you’ve heard
No one cares about the writing on the wall

Lovers in the rain
Strangers on a train
Everything will change and stay the same
Sweet as any lover’s words
Hard as any lover’s hurt

Lovers in the rain
Lovers on their way
Lovers on a thousand midnight trains
Hidden like a memory
A little bit of history

They never see it coming
Hurting
Falling like a little scene
They’re always high and mighty
Only into in their own little dream
But just a little make-believe
A little bit of mystery
Is all you need

DOING THE CONTINENTAL

Now really
Close doesn’t count
Not at all
It’s just your vanity making its call
You’re such a promising light
At least for a while
When I’m bored

So many little Napoleons fail
They’re never getting the point of the game
They’re trying too hard to please
It’s such a relief
When they’re gone
The laughter in the rain
We’ll take a turn again
When I’ve regained my breath

I’ve seen a lot of dead people on drugs
Hanging around in cafés like they’re not
Inhaling nicotine candy
And quoting that Andy cliché

In a world full of sad girls with great looks
I’ll be your Martini Girl
I’ll be late for a thousand appointments
But still I’m your girl
I’m flirtatious
Outrageous
Contagious
A three minute love affair
I’m so gracious
So spacious
Delicious
I’m all you can bear

So have a bite of my sweet lover’s heart
I’m irresistible right from the start
I’ll tell you when to start chewing
And when to be queuing to see me leave

CATCHING THE DUST

All of this time
Watching the lines
Slowly run out into the blue
Catching the dust
Staying untouched
Hiding the world within your hand

All of this time
Just catching the dust
Hiding the world

SHE SHINES

She shines like all tomorrow
There’s no need to beg or borrow now
She’s worth a million dollars inside
She doesn’t look like Marilyn Monroe
In that film where she’s so wonderful
She’s like a train that’s out of control

She’s feeling so good
She’s out of her mind
She’s fallen in love
She’s feeling divine
‘Cause ever since she met you
She knew that she would get you, now
You know it’s only a matter of time

She shines like all tomorrow
There’s no need to beg or borrow now
She’s worth a million dollars inside
She doesn’t look like Marilyn Monroe
In that film where she’s so wonderful
She’s like a train that’s out of control

Her feet on the ground
Her head in the sky
She’s having the time
The time of her life
The kisses on the mirror
Are meant to bring you nearer now
You know that it’s only a matter of time

She shines like all tomorrow
There’s no need to beg or borrow now
She’s worth a million dollars inside
She doesn’t look like Marilyn Monroe
In that film where she’s so wonderful
She’s like a train that’s out of control

Shining like a rainbow
Lighting up the sky
You can see her sparkling way up high now

PANTOMIME

Feeling like Berlin 1929
So many feelings all caught up inside
Falling like cities seen through lovers’ eyes
Shaking with fever as they say goodbye

Each time you look
Somebody hides
All of the world
Up in the clouds

Feeling so stupid in this pantomime
All that I need is one pair of starry eyes

MOODY

Feeling moody again
On a Sunday
Turning Monday all over again
I’m moody again
Sentimental
Never ending
I’m longing for you
Wherever you’re hiding
Still longing for you
And your silver lining

Counting the times that I’ve been here before
In need of a key as I’m closing the door
No need to find a reason
In every feeling that’s passing me by
It’s all in my mind

Feeling moody again
On a Sunday
Turning Monday all over again
I’m moody again
Sentimental
Never ending
And longing for you
Wherever you’re hiding
Still longing for you
And your silver lining

Cigarette burns on my pillow
Cigarette burns in my mind
Thin as the air that I’m breathing
Whenever you’re near

THE STRANGER IN YOUR VOICE

I always wait
For the light
For the day
When love has gone
All of the time
All of the lies
Turn inside of me

The stranger in your voice
Comes and goes
Never shows
I’m on my own
Feeling amused
Feeling accused
I’m a thousand miles away

Every tragic love affair will end itself
Always founded on a tragic lack of taste
No sweet applause
Not even a word
From the stranger in my heart

BLUE EYES BOLERO

Blue eyes, blue eyes
Blue like all of the sky
Blue eyes, blue eyes
Climb your helium high

Unbroken
Windows open
Blow you out
Climb the airwaves
On the staircase
Sliding down

Blue eyes, blue eyes
Feel the needles and pins
Blue eyes, blue eyes
Don’t know where to begin

ETIQUETTE

Five in the morning
All of the world is out of reach
Empty casinos
A city that turns within its sleep
The bed in my room looks so clean

Run out of reason
Waiting for time to make me see
A broken believer
More of the same is my retreat
I guess that it shields every need

I’m trying to rewrite a letter with feeling
But I’m out of season with etiquette
I want you know what it’s like to have been cheated
For all that I needed but didn’t get

Five in the morning
Don’t you believe a word I say
I guess that I’m asking
For somebody else to take my place

BURNING SUGAR

The carpet of stars
It shines from afar
Much further away than reason
A story that starts and ends with the heart
No words ever tell the tale

I believe in all that I see
In all that I know
In all that I feel inside me
I know that dreams will come true
If they’re burning

Burning sugar
Burns inside me
Burning sugar
Burning so sweet

A story that goes where nobody knows
I used to believe in answers
But sometimes it starts and ends with the heart
No words ever tell the tale

GOODNIGHT

Goodnight
Goodnight … sleep tight
Don’t worry ’bout a thing
The world you know and love
Will be the same again

As soon as when you wake up
It’s all right
Put on a little makeup
It looks nice
Forget a thousand feelings
From last night
And leave your troubles out

Goodnight
Goodnight … sleep tight
The morning’s coming soon
The dreams will lead you on
Like a wonderful balloon

It’s coming like a feeling
That deep sigh
Your heavy eyes are closing
It’s all right
You feel a little stardust
In your life
You’re gonna get so high

Don’t know what to believe
All the things that I see
If the clouds are for real
Or it’s all make-believe
Make a jump in the sky
Take a ride on the light
If you try suicide
You’ll only wake up

Goodnight
Goodnight … sleep tight
Don’t worry ’bout a thing
The world you know and love
Will be the same again

As soon as when you wake up
It’s all right
Put on a little makeup
It looks nice
Forget a thousand feelings
From last night
And leave your troubles out
Go leave your troubles out
Go leave your troubles out

Goodnight!

Agnes: Vocals
Andrea Pellegrini: Vocals
Aud Wilken: Vocals
Billie Koppel: Vocals
Carsten Kronow: Tuba
Frank Hasselstrøm: Keyboards
Hans Nybo: Bassoon
Henrik Marstal: Bass, cello
Iben Teilmann: Viola
Isa Holm: Vocals
James Crabb: Accordion
Jeff Matthews: Speak
Johnny Stage: Bass, guitar
Kenny Andy: Drums
Lise Westzynthius: Vocals, piano
Mads Nørgaard: Speak
Martin Hall: Drums, networks, keyboards, piano, bass, guitar, sonic work, samples, backing vocals, programming
Mette Sand Hersoug: Vocals
Ole Hansen: Trumpet, flugelhorn
Sara Wallevik: Violin
Søren Tarding: Guitar
Tanja Thulau: Vocals
The Vista Dome Ensemble: Orchestra
Torben Engberg: Organ

Design: Kenneth Schultz
Photo: Casper Sejersen

Among the participants you’ll find names such as Lise Westzynthius (nominated as best female singer at the Danish Music Awards that year) and Mette Sand Hersoug from the emerging Danish band Moon Gringo (another Danish Music Awards 2003 candidate). Catbird feat. Billie Koppel was yet a group nominated in several categories at the same award ceremony, and then there was Tanja Thulau, singer in the Danish group Luke who enjoyed massive radio airplay with the current hit single “Heaven’s on Fire”.

Apart from these younger names Music Hall also contains contributions from Aud Wilken, the great voice from Danish post-punk act The Poets (she was also the singer who gave Denmark its first top 5 appearance in 40 years at the International Eurovision Song Contest in 1995). Andrea Pellegrini, the mezzo-soprano from Hall’s critically acclaimed soundtrack Camille, also participated on the album, and finally the album featured a record debut for the grand lady of Danish theatre, Isa Holm (at the time 58 years old).

Apart from the female main contributions Music Hall also includes short intervals with comments and speaks. Contributors include “the king of Danish fashion”, designer and entrepreneur Mads Nørgaard who comments on the general effect of pop music on “Documentary 1”, as well as the novelist Jeff Matthews who reflects on charm and femininity on “Documentary 3”.

As stated, “She Shines” was a big radio hit during 2003 but only released as a promotional single. The track is produced by Johnny Stage while “Blue Eyes Bolero” is produced by Frank Hasselstrøm and “Burning Sugar” by Thomas Li. All other tracks on the album are produced by Martin Hall.

1. Andrea Pellegrini: “Another Heart Laid Bare”
2. Mette Sand Hersoug: “The Girl with the Moon in Her Eyes”
3. Belgravia feat. Aud Wilken: “Lovers in the Rain”
4. Isa Holm: “Doing The Continental”
5. Tanja Thulau: “Catching the Dust”
6. Documentary 1: “Mads Nørgaard on Pop Music”
7. Belgravia feat. Aud Wilken: “She Shines”
8. Lise Westzynthius: “Pantomime”
9. The Vista Dome Ensemble: “Face Map”
10. Tanja Thulau: “Moody”
11. Documentary 2: “Talkshow Guest on Meeting the Maestro”
12. Andrea Pellegrini: “The Stranger in Your Voice”
13. Catbird feat. Billie Koppel: “Blue Eyes Bolero”
14. Belgravia feat. Aud Wilken: “Etiquette”
15. Documentary 3: “Jeff Matthews on Charm and Femininity”
16. Agnes: “Introducing Burning Sugar”
17. Belgravia feat. Aud Wilken: “Burning Sugar”
18. Mette Sand Hersoug: “Goodnight”