Peder Mannerfelt’s releases have never been short of artistry. His most recent project is one of the most daring yet; a reconstruction of The Belgian Congo Records entirely using synthesisers. The original is a series of recordings of Congolese music coordinated by filmmaker Armand Denis and first published in the 1950s. Mannerfelt’s re-imagining, however, is entitled The Swedish Congo Record and has been released via Yves De Mey Peter Van Hoesen’s ‘Archives Intérieures’ imprint.
Through his electronic rework of the original compilation, Mannerfelt has presented a vivid, highly imaginative work. By keeping the original titles and giving full disclosure to its context, he pays honest tribute to the originals rather than seeking to exploit or misinterpret them. The LP shines a stark spotlight on a rarely highlighted period of colonialism and invites us to reconsider a period of ruthless exploitation.
In light of this release, we decided to invite Mannerfelt to contribute to our That Time When series, discussing five of his most memorable gigging experiences. The results are just as eclectic as you might expect.
The defining gig of my youth. Refused were my main obsession for a few years in my teens. After they released Songs To Fan The Flames Of Discontent (their best album in my opinion) they did a tour together with Fireside and Entombed, two other of the most important Swedish bands from the 90s. I was lucky enough to catch them when they played in Stockholm, even though it was a school night.
Massive and out of this world. The coolest thing about Meshuggah is that they somehow appeal to every kind of metal fan, from crust-punks to glam rockers. I saw them for the first time two years ago. I broke a rib in the mosh pit during ‘Bleed’. Unfortunately I had promised my girlfriend to dig a flowerbed the day after, nothing I would recommend doing with a broken rib.
It´s always difficult when you go see a band that you loved in your teens 10 years later, but hearing ”Deathbed” live for the first time made me feel like I was 15 years old again.
I’m not that into watching a DJ ”DJ”, but seeing Theo Parrish transforming an empty room on a Sunday night at ATP into a frenzy with basically the whole festival dropping in one by one, looping up James Browns ”Funky Good Time” (probably the cheesiest JB track ever) for what felt like at least 30 min is nothing short of a master at work.
You don´t go see Sunn O))), you experience it with your whole body. For the first 45 minutes or so your entire being screams for mercy and your only instinct is to flee. If you endure that and surrender to the volume and sheer sound pressure it will become a truly transcending event. Kind of like being in a really hot sauna for a few hours.