Retrograd - 20 years!
This beauty turns 20 years these days!
Retrograd - 20 years!
Dear friends,
It's been twenty years since we released our debut album, "Retrograd." That was on October 5th, 2004. Time has a curious way of slipping by unnoticed until, suddenly, it stands before you, two decades tall, as a reminder of its fleeting existence. And it's good to get these reminders once in a while - to sit down and reflect on the path and the role we're playing in the bigger picture (not in the cosmic sense, but more culturally and socio-realistically). In that situation, I always tend to find myself astonished at how fast the years go by. How what feels like a handful of moments has stretched into twenty years, seven albums, and over 600 concerts.
Afenginn at Bartof Café sometimes around 2003-04
In many ways, much remains the same, yet so much has changed. We've matured - at least the mirror reveals a hint of grey in our beards now - and both our music and ourselves have gradually evolved into slightly different shapes. With only a few lineup changes over the years, we're fortunate to have this shared history with one another, managing to stay remarkably steady year after year. Each album we've put out has been a departure from the last, yet there's a thread that runs through them, binding them together - much thanks to the consistency of the group.
Currently, I'm working on composing new music, and we've slowly begun to scratch the surface of that. It's a project that promises to take us in yet another new direction. It's ambitious and vast, and I'll share more about it when the time is right. But for now, I want to look back, to pause and reflect on "Retrograd."
We've never been too brilliant at celebrating milestones or our humble successes. More often we've just been too caught up in the next project, the next show, or the next logistical challenge. But twenty years feels significant. It's a moment worth acknowledging. Until recently, I hadn't listened to "Retrograd" in many years, but returning to it has been like opening a time capsule. The vibe and memories come out quite alive.
Back in the early 2000s, Copenhagen was washed over with a kind of "Balkan wave." We found ourselves in the midst of it, though perhaps we didn't fully understand how we got there. Bands like Mames Babagenush, Fra De Varme Lande, and Klezmofobia were flirting with klezmer and Balkan influences, creating something fresh and exciting. It happened more than a few times that we were compared to the music from Emir Kusturica's "Black Cat, White Cat," or to Goran Bregović's work, or bands like Gogol Bordello and Kaizers Orchestra. These comparisons weren't too far off. We were for sure fishing a little bit in the same waters.
I remember being told that Eugene Hütz from Gogol Bordello had shown interest in "Retrograd" when he was introduced to it during an interview while they played in Denmark. And I recall that I slipped a copy under the windshield wiper of Kaizers Orchestra's tour bus when they played in Copenhagen during their "Ompa til du dør" tour, probably hoping to get a chance to open for them. Apart from these, bands like Farmers Market, Fanfare Ciocărlia, Naftule Brandwein, Taraf de Haïdouks, and others were in our CD players. But perhaps it was the Nordic bands like Hedningarna and Väsen that made the biggest impression on me personally during those years, adding that into the stew already brewing with influences like Jethro Tull, Mike Oldfield, The Beatles, The Clash, Nirvana, Bach, Bartók, Dylan…
We were all students then. Rasmus and I were studying musicology at the University of Copenhagen. Niels and Andrzej were at the conservatories—classical and rhythmic music - and Rune was training to be a music teacher. We came from different musical backgrounds - rock, ska, jazz, classical - but there was something about the folk and world music traditions that resonated.
Presenting Retrograd in Swiss radio
There was a thrill in playing fast tempos and odd meters, a challenge that kept us sharp. The music was lively and raw, connecting us with audiences in ways I think we'd never experienced before. It was fascinating to explore unconventional time signatures, to blend genres, to infuse the compositions with a certain finesse. But above all, it was great fun to play. The energy of it was a big driving factor. That's what we wanted to capture with "Retrograd."
Karl and Henrik behind the desk
In the summer of 2004, we recorded the album at the Royal Danish Music Conservatory. Henrik Bjørslev and Karl Skibsted guided us through the process, helping to shape the sometimes chaotic energy into something coherent and well-sounding. The group consisted of Rasmus on clarinet and bass clarinet, Niels on violin, Andrzej on bass guitar and double bass, Rune on drums and percussion, and myself on mandolin and mandola. (See a small micro-bio of the current members here)
We were fortunate to have other talented musicians join us as well:
Anders Vesterdahl on accordion
A brass section with Lars Husum (trumpet), Ole Algreen Reimer (flugelhorn), Asger Nielsen (euphonium), and Carl Viggo Jespersen (tuba)
A string ensemble featuring Christian Ellegaard (violin), Anne Augustinsson (viola), and Marie Louise Lind (cello)
Simon Bjarning on skraldofon and flexitone
Henrik Bjørslev on wooden flute
I had written brass and string arrangements for almost every track, aiming to capture the raw energy of our live performances while embracing the possibilities the studio offered. So it was probably a blend of some meticulous planning and a bit of chaos.
Even after these 20 years, tunes from "Retrograd" still find their way into our setlists. "Tattar Humppa" and "Andante Definibus" are both still regularly featured. And tracks like "Näcken," "Clapdance," and "Tsar Nob-Yld" were staples for many years. As I remember, we opened the set with "Näcken" the first time we played at Roskilde Festival. But back in those early days, we often began our shows with "Tivoli Invaliid," mirroring its place as the album's opener. It set the tone - a blast of energy that usually got people up on their feet.
When "Retrograd" was released, we didn't know how it would be received. The response was very positive, though:
Helge Knudsen from Dagbladet Arbejderen called it "an intoxicating experience with music of very high intensity."
Bernhard Lewkowitz of Kristeligt Dagblad remarked, "You've got to be a real stiff neck not to be caught by Afenginn's joy of playing."
Alex Regnér from musiklandet.nu noted, "In the genre, there are only a few who are at the same level as Afenginn."
Musikeren Magazine described us as "hyper-energetic, virtuosic, unrestrained, rattling, original, and nothing less than screamingly amusing."
Later, we were honored to receive our first Danish Music Award in the World category for "Retrograd," presented by the legendary Morten Lindberg, known to many as Master Fatman. A big moment!
I think that those early days set the foundation for much that followed. We've been through various musical landscapes since then, evolving and exploring, but the essence that began with "Retrograd" still remains in the DNA of Afenginn.
Over the next few weeks, I plan to touch a bit on each track, starting with "Tivoli Invaliid," the opening track of the album. It's also about time I shared the scores - something I've meant to do for years. Perhaps some piano excerpts will find their way onto our website for those interested in exploring the music further.
If "Retrograd" has been part of your story in any way, I'd love to hear your thoughts and memories.
Thanks for now, and to be continued…
Kim
You can listen and purchase Retrograd elsewhere on this site. Actually exactly here