Farveblind + Gwindor

Band: Farveblind Support: Gwindor Date: Thursday 8 October Doors: 19.00 Live music from: approx. 20.00 Venue: Hus 7 Age restriction: 13+ accompanied by a parent or guardian/18+, read more about the rules: https://slakthusen.se/aldersgr...

For Copenhagen trio Farveblind, the original mission was simply to make things happen.

Conjuring up an intoxicating blend of techno, breakbeat, industrial and post-punk, they initially had no carefully thought-out plan for how to go about it.

The trio, comprising Jens Asger Lykkeboe Mouritzen, Magnus Pilgaard Grønnebæk and Anders Norre Arendt, saw themselves as an unguided party-starting projectile – a mindset that earned them unexpected acclaim as an incendiary live band, with performances at festivals such as Roskilde, Eurosonic and Reeperbahn. “I think the original plan was: we saw a lot of concerts, and we thought we wanted to make some kind of art where we break down the barriers between being on stage and being in the audience,” says Magnus. “So we really wanted to do something where we played with that whole dynamic.

And back then we didn’t care so much about exactly what the music sounded like.

We weren’t that good then; we weren’t really producers yet.

We mostly listened to electronic music and came from playing in various bands.” Farveblind initially began as a duo with Jens and Magnus, with Anders joining a few years later.

That was when they began to hone their energetic, punk-influenced approach to electronic music: as a trio, the songwriting became tighter, the arrangements more adventurous, and their feel for texture and melody developed in exciting new directions.

As for many other artists, the coronavirus pandemic became a pivotal period for Farveblind to rework and refine what had made their internal dynamic so appreciated on stage in the first place. “Something very interesting happened when the three of us began composing and writing music, rather than just thinking: how do we make a drop for live shows?

How do we make a song worth listening to?” says Jens. “It’s important to mention that the whole process of actually creating music – not just tools for dancing – began in 2020, when we were basically isolated together in a studio.” The EPs Mayhem (2021) and All Clubs Are Bastards (2022) foreshadow the direction of their long-awaited debut album.

More broadly, Micro Pleasures – released on 15 May 2026 – shows Farveblind having fun with an eclectic group of fellow artists they have met over the years.

But these 11 tracks also express where such carefree creativity can flourish in a society where anxiety, apathy and chaos are widespread. “Micro Pleasures is a celebration of the small moments of happiness you find in otherwise oppressive everyday life,” the band say in a joint statement. “It explores how fleeting everyday pleasures can serve both as coping mechanisms and as subtle forms of resistance.

The album is a collage of collaborations with many very exciting people.

It allowed us to explore genres and energies that would otherwise have been unavailable to us.” Through the prism of artists with different styles, life experiences and cultural backgrounds, Farveblind reinforce their original ideals of a collective, decentralised project: by inviting a wide range of contributors, Micro Pleasures – produced by Farveblind and mixed by Gustav Brunn (Viagra Boys, Yung Lean) – organically captures the turbulent times we live in.

The impressive list of guest artists includes itcallsme I, Sean Michael Seldorf Flaherty (USERS), k.flay, Elliphant, Jesse Clasen (Foreign Air), Sebastian Monti, Jesse Markin, Emmeline and Django Django. “We really want to collaborate with artists, not just singers,” says Magnus. “It forces the three of us to be creative in new directions and keeps the process alive.

I also think we’ve created a kind of sandbox for other artists to play in, where they can step a little outside what they would usually do in their own projects.” The lead single “Salary Man”, featuring explosive vocals from USERS’ Sean Michael Seldorf Flaherty, is an acerbic techno-house portrayal of office culture, while the tension-driven “Battle Lady-Like”, featuring Jesse Clasen from Foreign Air, brings to mind Dave Arnold and early Soulwax – like an intense chase scene in a futuristic spy film.

The third single, “Natural Behaviour”, features vocals from British artist Emmeline and reveals a more atmospheric and introspective side to Farveblind’s sound. “I started thinking about someone waiting for someone’s natural behaviour to change,” says Emmeline of the song. “And how that can be quite futile.

Perhaps the song takes place in a club at the end of the world, where we’re all wondering why grass grows upwards, why the bassline feels harder when the beat kicks in, why we punish the earth for what it gives us – and how some patterns are hard to break.” k.flay’s cool, laconic delivery on the bass-driven electro-punk track “Things” highlights similar contradictions in the allure of consumption: “Use it, lose it, find it, buy...