Month: February 2009
APPARENTLY ALL THE SAME (SPECIAL EDITION)
APPARENTLY ALL THE SAME (SPECIAL EDITION)
UNDER FOR
CD
FEBRUARY 2009 (ORIGINAL RELEASE MAY 1984)
PANOPTIKON (OPTIK 13)
Apparently All the Same was the only album Martin Hall released with Under For. The title remains one of his most significant releases during the eighties.
Separate to the original recordings the 2009 special edition of the album also contains Under For’s legendary concert at The ISCM World Music Days in October 1983, a radical performance that bears some resemblance to Hall’s canonized work Inskription.
1 Imagine Focus (5:12)
2. Meanwhile (6:45
)
3. Form (6:17
)
4. Theme Remains Theme (5:50
)
5. Less (5:00)
6. In the Prism of Evil (7:25
)
7. Consecutive Lines (7:07)
8. Module (2:26
)
9. Prism (4:33
)
10. Subliminal Transfer (3:51)
11. Mass and Conduct (7:25
)
12. The Third Room (2:29
)
13. Admission (5:56
)
14. An Ending (6:39)
IMAGINE FOCUS
Just a touch of lost
Burning as always
As it was, as it is
And eventually
Just in trust, nothing more
So suddenly
From beginning to end
While this centreless present reflects itself
In inverted moves of an obsessional stage
In a stream of light from unreachable marks
Something long ago in everlasting terms
In a crossfade of untitled reasons
What it turned out to be
And occasionally
Everything in my hands
So totally
In the heat of the touch
Like the way we were
Beyond love under will
Suddenly away in these only words
By mistakes again into changing links
In this compromise of dependence then
Stage by stage, in exposure
Still so timeless in this life release
Nearness hidden in casual moves
Watch the changes and recall
Touch through another focus
Mark perfection twice
With or without purpose
Still tons against tons
Carefully mistaken in retrospective fear
Restrain it all while I imagine focus
MEANWHILE
While origin thins and narcosis thickens
It’s so easy to be mistaken
Now and then so absolute
When I phase out in light
While I synchronize reality and drug
In just another move of make-believe
With life in close-ups, so deliriously true
But only allusions to help me
In this concept of illusion
Cool, shining, clear
FORM
Apparently all the same
Like never before
Hidden in the contrast
The distance, the pulse, the reflection
Such awareness in every move
The nearer the source, the purer the stream
Direct to the centre
Remember the thin lines
Why regret what something became
We’re all “fascists” anyway
So much earlier
In these ages
This fetish of time
The making of the swastika
The titles of the symbols
The force, the form, the love as the core
I need the power of understanding
I need the power
In bleached vision
Find it all again
But no nearer than the touch allows
And inside time, in the media
All weaved in days
The patterns seem so unreal
One single point where it all lies
THEME REMAINS THEME
Just like the trademark of nowhere
So careless, so tender
Please don’t forget it, but don’t mark your life by remembering
Crossing the past in these present decisions all the time
Failing to master the techniques of knowledge in my own life
And in this metamorphosis of love
Every breath I take contains it all, but remains formless in this life-synthesis
Once belief weaved me in the finest stuff I have ever known
But now the touch feels so graceless in this chemistry of fear
From the love
LESS
No longer there
In mantras of anaesthesia, as a sacrifice of these methods
Gone, but not forgotten
Hidden in the parallels
So deep within the doubt, in these shapes of hatred
From circle into circle
In the touch that never ends
In beginnings
So tenderly aware, in cover of dreams
In endless sequences beyond all the love
Just like nothing has changed, a moment ago
In the glow that deepens all shadows
Touching the light for the first time
The last time
IN THE PRISM OF EVIL
Another burst of desire in the privilege of a dying race
In this concept of fear, this misguided potential
The emotional anonymity reflects itself in vision, document and word
In this conjectured freedom, this intellectual pornography
It’s yours forever
It has been written and you’re the only one to know
In this framework of prostitution
Cynicism and self-hate intensify the emotional fascism
The one-dimensional sexuality of this culture
A survival that makes life historical but dimensions alone
In these sacred words of form
In this devaluation of the enigma
And while love crystallizes in the outline of the focus
In the diagrams of the scars
In the libido of death
This associated reality marks the difference
Between the soul and the language
Between the art and the artificial
After two thousand years of misunderstood Christianity
Into this final phase, the trauma of dualism
Where the dream of the free will becomes the torture of freedom
Where the taboo of fear becomes the monopoly of death
This is the art of desire
The art of decline
Understanding is decay
The terminal disease
The end of evolution
It makes me …
Berit Spælling: Harp
Lena Walsh: Harmony vocals
Martin Hall: Vocals, drums, keyboards, bass, violin, tapes, horns
Michael Karshøj: Drums
Per Hendrichsen: Treatments, guitar
Design: Kenneth Schultz
Photo: Martin Hall
Apparently All the Same was one of the few Scandinavian releases from the period that was given positive coverage by British music magazines such as New Musical Express and Sounds at the time of its release.
The re-release marked the album’s 25th anniversary.
Track 1–6 recorded and mixed at Easy Sound Studios, January/February 1984. Mix assisted by Freddy Frank. Track 7–14 recorded live at The ISCM World Music Days at Musikhuset (Aarhus, Denmark) on October 30, 1983. The 2009 re-release was remastered by Johnny Stage.
RANDOM HOLD (SPECIAL EDITION)
RANDOM HOLD (SPECIAL EDITION)
MARTIN HALL
CD
FEBRUARY 2009 (ORIGINAL RELEASE FEBRUARY 1996)
PANOPTIKON (OPTIK 14)
Originally released in 1996 Random Hold was instantly regarded as one of Martin Hall’s finest works by an unanimous Scandinavian press. In 1997 the album was released in Germany, Austria and Switzerland where it also received a massive amount of breathtaking reviews.
Since then it has been included on the list over the 50 most important releases in Danish rock music in the illustrious Danish rock encyclopedia Politikens Rockleksikon and the album still gains growing attention from music connoisseurs all over the world.
1. Cradlemoon (5:44)
2. Performance (5:12)
3. Another Heart Laid Bare (4:54)
4. Interim (1:47)
5. Cue (3:24)
6. She’s Eternal (6:00)
7. Golden Day Longing (4:37)
8. Skinline (11:03)
9. Catching the Dust (Part 1) (1:59)
10. Catching the Dust (Part 2) (6:38)
11. Another Heart in Transit (8:39)
12. Cradlemoon (Chamber Version) (4:24)
13. Images in Water (Instrumental Version) (7:52)
CRADLEMOON
The fire and the water keep mixing in my blood
The sons and the daughters seemed to give it all up
They got too tired of the waiting
Too tired to believe
In the promises that nobody keeps
I’ve seen a generation coming
I’ve seen a generation go
And the more I see, the less I know
I want to go to sleep
I want to drown in the deep of the cradlemoon
I want to touch the sky
I want to lie down and die
In the cradlemoon of the night
So I followed the shadows by the trail of the waste
And it led me into the heart, to the heart of these days
I never wanted to remember
Never wanted to believe
But you don’t ask why when the thunderheart beats
All I wanted was a reason
What I got was so much more
Couldn’t turn my back on the things that I saw
I want to go to sleep
I want to drown in the deep of the cradlemoon
I want to touch the sky
I want to lie down and die
In the cradlemoon of the night
In a world full of stories
There’s a time in the night
When the sky seems to break by the blink of the eye
PERFORMANCE
Fields of living fire
You’ll see me reaching into the air
The shadow of a survivor
I turn around but there’s no one there
I’ve been looking for reason
Some poisons taste like the sweetest wine
But all I ever believed in
Was all the things that I couldn’t find
The fires burn, erasing all the traces
And I spread the ashes all across the sky
Watching it all fall like rain through empty spaces
To the darkest corners of my heart and mind
Hear the cries and the whispers
The touch-and-go of another night
The afterglow of desire
Shines with the flame of a lesser light
A line of nameless faces
Fading away in a sea of time
Another time and place is
The last belief of performing mind
The fires burn, erasing all the traces
And I spread the ashes all across the sky
Watching it all fall like rain through empty spaces
To the darkest corners of my heart and mind
In a room without a view
There’s a story without end
Every time an answer shows
Then another hides away
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
CUE
The cities of light, the mirrors beneath the stars
In all of my life I’ve followed my untamed heart
It burns like a fever in the sleepless nights
Behind closed doors and behind closed eyes
The sea of the sky keeps shining a world of gold
The sweeter the song, the sadder the tale that’s told
Like a secret that I’ll never know
There’s a feeling that will follow me anywhere I go
I’ll walk on waters
I’ll quiet the storms
With you as my reason
With you as my calm
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
GOLDEN DAY LONGING
Sweet
Golden day longing
I feel it inside
Each breath that I take
High
High as the empty
It falls on my skin
To cover the burns
Turning silver
See the writing that runs down the wall
Book of reason
I don’t need it anymore
Sweet
Golden day longing
No words can explain
The feelings I have
SKINLINE
Days are burning like the rainbow
In a corner of the world
Your forever is a nevermore
And it turns the sky and the earth
The moon and the stars
The skin and the scars
Keeping your eyes on closing doors
Counting the shadows on the walls
Pieces of eight still fill your mind
Burning your skinline
Break the silence into stories
Tell them like a children’s tale
Always staying at a distance
As you bleed the light of the day
You’re lying awake
You lie there and wait
CATCHING THE DUST
The eyes on the ceiling
The eyes on the walls
There’s always a riddle unsolved
A question to store
Candles burning in the night to remind you
That no matter where you’re hiding
It will find you
Get inside of you
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
The longest of stories
The thinnest of air
The something you always wanted
Untouchable near
“Hertzlich willkommen. Mit Martin Hall’s Random Hold liegt das erste Produkt vor, das Public Propaganda als Label auf den Markt schmeissen… und was für eines! Martin Hall, eine der wichtigsten Persönlichkeiten in Dänemarks Musik- und Kunstscene, verbindet electronisches und klassische Sounds zu einer perfekten Untermalung seiner düsteren Gesange, die einen sofort in ihren Bann ziehen. Das ganze klingt ausserdem extrem ruhig und atmosphärisch, dabei aber nicht immer kuschelweich, sondern oft auch nachdenklich machend. Mal wirken die Songs als solche, mal experimentiert Martin Hall mit Stimme und Klängen. Verdammt entspannende und starke 43 minuten, die uns Public Propaganda da ins Nest legen. Unbedingt reinhören. ”
( 5/5 )
Bodystyler (December 1997)
“Die perfekte Musik …”
Gothic (December 1997)
“Einfach eine grossartige CD!!!”
Dark Mind (November 1997)
“Musik, die einfach schön ist … Denn Kunst kommt von Können. Und das ist Kunst in Reinkultur! Atmosphärische Klänge, wie sie die heutige schnellebige Zeit dringend nötig hat, um einen Ruhepunkt zu finden.”
Orkus (November 1997)
“Random Hold ist ein bewegendes, ein ausgereiftes Kunstwerk. Gut, dass endlich die Musik unserer Nachbarn im Norden mehr und mehr in unser Bewusstsein rückt …”
Notes (November 1997)
“Hall’s Musik so ganz anders ist.”
( 8/10 )
Neurostyle (December 1997)
“Der Däne Martin Hall blickt mit seinen 34 Jahren bereits auf stattliche 31 Veröffentlichungen zurück. Einem breiten Publikum ist er hierzulande allerdings noch nicht bekannt. Random Hold könnte das ändern. Hall schafft ein unspektakuläres, zurückhaltendes Album voller Emotionen. Er versichtet auf klanggewaltige Arrangements, entfaltet sich lieber im Detail. Stilprägend wirkt dabei die Kombination elektronischer Musik und klassischer Instrumentierung, die gleichberechtigt nebeneinander stehen und die gefühlvollen Texte unterstreichen. Zeitlos schön und ubedingt hörenswert.”
T5 (November 1997)
“Da haben wir ja ein richtiges Multitalent.”
( 9/10 )
Feedback (December 1997)
“Musik für den Herbst. Musik für Schwärmer, Romantiker, für die melankolischen Stunden allein, für Stunden zu zweit. Musik wie für mich komponiert.”
Astan (November 1997)
“Bleibt zu hoffen, dass Martin Hall mit diesem atmosphärisches aussergewönlichen Album auch hierzulande auf offene Ohren stösst.”
Entry (December 1997)
“Dänemarks Vorzeige Multimedia-Künstler vor Durchbruch in Deutschland.”
Zillo (November 1997)
Henrik Marstal: Cello
Iben Teilmann: Viola
Martin Hall: Vocals, drums, bass, guitar, tape material
Ole Hansen: Keyboards, piano, trumpet, french horn
Sara Wallevik: Violin
Signe Kjærsgaard: Bass
Thomas Li: Networks, treatments, logic, percussion
Design: Birgitte Wester/Kenneth Schultz
Photo: Robin Skjoldborg
In February 2009 Random Hold was re-released in a remastered special edition featuring several bonus recordings from the original sessions. In relation to Record Store Day 2017 it was released on vinyl in a new version remastered by Thomas Li.
For a more specified storyline concerning these versions, please see the following links:
The album was recorded on mobile equipment at Regent House and Holbaek Art School via Satellite Recording Facilities, summer 1995. It was mixed at Soundtrack and then edited at Mainstream.
“The grandiose and beautiful, dusty album Random Hold from 1996. It is the hermetic Hall’s most flawless pop work ever.”
( * * * * * )
Politiken (the Danish equivalent to The Guardian)“Martin Hall has rarely appeared more precise, serene and focused than on his latest release.”
Berlingske Tidende (the Danish equivalent to The Times)”A damned good release from Martin Hall.”
Information (the Danish equivalent to The Independent)“Martin Hall’s best record so far. A little miracle.”
( * * * * * )
Nat & Dag (the Danish equivalent to The Face)“Martin Hall’s peak as an artist.”
Zoo Magazine (the Danish equivalent to Q Magazine at the time)“Random Hold is Martin Hall’s most beautiful and flawless record up until this point.”
Det Fri Aktuelt (major Danish newspaper at the time)”An uncompromising and naked expression … intimate and attentive deliveries.”
( * * * * * )
Undertoner (Danish site for independent music)“Beautiful music … art at its purest.”
Orkus (major German music magazine)“The perfect music!”
Gothic (major German music magazine)
HOSPITAL CAFETERIAS
HOSPITAL CAFETERIAS
MARTIN HALL
CD
FEBRUARY 2009
PANOPTIKON (OPTIK 15)
Hospital Cafeterias, an album featuring a wide range of guest vocalists and performers such as legendary Danish electronica performer Else Marie Pade and members of Efterklang, was met with a line of top ratings from the Danish music press.
With the album’s mix of classical compositions and electronic sounds, recitations, opera and music hall, the general opinion was that Martin Hall had managed to create one of the best and most complex albums in his career so far.
1. – (0:39)
2. 40 Versions of the Time Before (2:38)
3. Das Doppel Meiner Selbst (2:15)
4. No Thanks and Then Some (2:28)
5. Eden Cinema (0:59)
6. So Much for Nothing (1:35)
7. Lied Zwei (3:03)
8. P.O. (2:36)
9. Lavender Grey (3:37)
10. Tinfoil (3:36)
11. Wohnung (2:58)
12. Brother Spare a Moment (4:13)
13. Soft Tissue Damage (3:10)
14. Sob Story (3:46)
15. Wartesaal (1:56)
16. At The Lido (Helium High) (2:31)
17. A Case of Epic Needs (2:46)
18. Nætterne er så Lyse (3:09)
40 VERSIONS OF THE TIME BEFORE
Falling asleep on a long distance flight
The images in the still of the night
A scent of waste
The sight of your face
A flicker of uneasiness
Will I be able to forget now?
Nurses and young girls in a row
How can I ever let you go now?
Like 40 versions of the time before
The ballerinas at my feet
The connoisseurs out in the street
Oh you mean nothing to me
Just try to tell yourself the tale again
You tell yourself it’s all the same again
The city lights that came alive
The stars that fell down from the sky
You turned around within the light
Your skin so frail and lily-white
The centre of the Western world
A glamorous confusion zipped
Upon the parting of your lips
Intangible as every breath
As inescapable as death
Oh it means nothing to me
NO THANKS AND THEN SOME
Young, thin and already faded
A whispering shine
Boats drift along silent rivers
Fall from the sky
No thanks and then some
It’s too far away
No thanks and then some
Your sentimental waste
Clean like a face in the morning
Lips made of air
Cream-coloured light falling gently
But nobody’s there
EDEN CINEMA
There’s a silent craving
In the ballroom of your eyes
Like a face map of desire
I don’t know what more to find
In tomorrow’s tabloids
Down in Eden Cinema
Run around in circles
Never seem to find the place you are
SO MUCH FOR NOTHING
I know a girl with a smile on fire
Dressing up like a memory
Never seen the things she’s hiding
Hope I’m not one of them
So much for nothing
Is all I hear her say
So much for nothing
Feeling so
Feeling sad
LIED ZWEI
Sad whisper
Told unforgiven
Lied towards
I reflected yours
At all to feel
This too has caused
Curse of need
Sand of bleeding
Painful doubt
Lies of love
They have killed me beneath me
Nor likely
Reach for fall
I will not fall
High will save
Gutter’ish feel
You have to kneel
Before and for
Nothingness doomed
Sweet-lain or dried
Conquership or
Conquered emotions
Would you lie to me?
P.O.
I’ve seen your face a thousand times
I’ve seen you hide within the crowd
I feel you run within my blood
But dreams are never quite enough
Not enough
All I want to believe in
Is the look in your eyes
All I want to believe in
Is your sigh
Let me stay here forever
Let me stay here tonight
Let us stay here together
For a while
No one knows you better than me
No one knows you better than me
TINFOIL
Her skin is like tinfoil
She glitters and breaks
Hand-written silver
The lines that she makes
If she didn’t say so
I wouldn’t believe her
If she didn’t say so
I’d feel no relief
A case of symmetry
Between her heart and me
Where I want to be
Is by her side
A case of symmetry
Between herself and me
Where I want to be
Is by her side
WOHNUNG
Die Wohnung war stockdunkel. Ich schaltete eine Lampe an. Ihre Lider waren schwer, entzündet wegen Schlafmangels; sie betrachtete mich mit äußerstem Misstrauen. Die kleinen Bewegungen ihres Kopfes erinnerten mich an diejenigen einer Kuh an einem Zaun, und ihres Blickes bestechlicher Glanz erfüllte mein Herz mit Traurigkeit.
Die Stimme war die einer Fremden. Sie sprach zu mir wie zu einem sechzigjährigem Mann, obwohl ich damals erst 37 Jahre alt war.
Ihr Ton war voller Unterstellungen, es war schwer, die Bedeutung der Wörter zu unterscheiden. Vielleicht war es der Wein, vielleicht der Inhalt.
Längst war alle Feinheit, Finesse dem Verschleiß der Gewohnheiten gewichen.
BROTHER SPARE A MOMENT
Brother spare a moment
Sister lend an ear
People show compassion
For the cross I bear
No one seems to notice
No one seems to care
For the broken-hearted
Lovers in despair
Say you feel it too
You sentimental fool
Don’t you know it’s true?
Every word I’m telling you
Brothers born as strangers
Brothers born to hate
Goaded on like creatures
Drained of any faith
How I want to free them
Set their souls alight
Turn their rage and fury
Into battle cries
Don’t you know it’s true?
Living by these bullring rules
Say you feel it too
Stranded on a ship of fools
Don’t you know it’s true?
We’re sentimental fools
Say you feel it too
Come and share my lonely view
SOB STORY
Hide away
With somebody else by my side
It could have been anyone
It could have been you
A moment ago
Whatever you do
Whatever you say
It won’t be the same
Just won’t be the same
For someone like you
It’s all just a game
I guess it’s always the same
Whatever the stakes
It’s a reason to fail
A reason to hate
WARTESAAL
Das bemalte Gesicht mit der kessen Gangart lachte wieder laut und körnig auf. Gut versteckt in einem Kamelhaarmantel mit Perlmuttknöpfen wirkte sie gleichzeitig zerbrechlich und heiter. Das Licht im Wartesaal, braun wie Suppe, bedrückte sie offenbar, denn wie eine schuldbewusste Verrückte murmelte sie jetzt unzusammenhängendes Zeug über alles und nichts, besonders Letzteres.
Aus der Sicht eines Filmkritikers war ihre Leistung unvergleichlich.
AT THE LIDO (HELIUM HIGH)
Blue eyes, blue eyes
Blue like all of the sky
Blue eyes, blue eyes
Climb your helium high
All 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
A CASE OF EPIC NEEDS
Sad and stupid
Perverted Cupid
An undisputed case of epic needs
Parade the frozen
Conceal the broken
Just a token of my epic needs
Never thought I’d ever feel the same
No rhyme or reason will capture this feeling
She said “free all angels”
With a nervous laughter
In the still of night
Did she ask me?
Did she love me?
I guess I’ll never know
Forever
The painted smiles and the sweet delight
It’s over
Falling like rain
All over again
Still awake in the morning
“Exceptional: In the wild growing Martin Hall catalogue Hospital Cafeterias is both a concentrate as well as a climax in his production.”
( * * * * * )
Politiken (the Danish equivalent to The Guardian)
“A varied and beautiful album: Hall balances self-assured on the knife edge between decadence and humility, to a degree where you can be nothing but fascinated.”
( * * * * * )
Soundvenue (the Danish equivalent to Q Magazine)
”Best album since 2001. Outstanding.”
Information (the Danish equivalent to The Independent)
“One of the best albums in his career.”
Geiger (the Danish equivalent to Wire Magazine)
“Hall is a pioneer who still searches for the absolute limit.”
( * * * * * )
Undertoner
“Magnificent!”
( * * * * * )
MetroXpress
”Grandiose and generous.”
( * * * * )
Skopet
”An extraordinary and spectacular experience. Wow!!!!”
Voxhall
”Desolaten Atmosphäre und desperaten Intensität.”
Grenzwellen
“Hospital Cafeterias is a masterpiece! A beautiful masterpiece!”
Ernesto Tomasini
Andrea Pellegrini: Mezzo-soprano
Casper Clausen: vocals, keyboards
Christian Skeel: Piano
Claus Beck-Nielsen Memorial: Vocals
Else Marie Pade: Electronics
Herbert Zeichner: Voice
Johnny Stage: Guitar
Katja Andersson: Vocals
Knud Odde: Vocals
Marcel de Sade: Piano
Martin Hall: Vocals, instruments
Mikkel Meyer: Keyboards
Miss Fish: Vocals
Sara Fiil: Vocals
The Vista Dome Ensemble: Orchestra
Volkmar Zimmermann: Guitar
Design: Kenneth Schultz
Photo: Territorium
Hospital Cafeterias has been described as a salon record – as a thunderstorm of clashes, ideas and words that do not nervously seek recognition or intelligibility. Several songs and recitations take place in German and classical score music plays a central role throughout the record.
As Kim Skotte wrote in Politiken (the Danish equivalent to The Guardian) where the record received five out of six stars:
“Tableaux staged as flickering soundscapes. A kind of soulful drunkenness flickers on the eardrum via ghost phones, European train drumming and electronica crackling as today’s ectoplasm. It starts with a lonely voice and it ends with one. Voices in the night desperately seek each other, but the room is large and the hospital corridors endless.”
The first video made for the album was “P.O.” where Martin Hall collaborates with Danish electronica legend Else Marie Pade (85 years old at the time).
The video, however, was banned by YouTube and removed from the site a few days after its premiere due to its “offensive nature” – something that in hindsight might seem a a bit ironic, especially since current videos featuring executions of civilians and standard sexist pop behaviour caused no censorship.
Hospital Cafeterias features a line of guest vocalists and other contributors on each separate track. The index goes like this:
1. “ – ” (Anonymous)
2. “40 Versions of the Time Before” (Martin Hall feat. Claus Beck-Nielsen Memorial)
3. “Das Doppel Meiner Selbst” (Claus Beck-Nielsen Memorial feat. Christian Skeel)
4. “No Thanks and Then Some” (Martin Hall feat. Mikkel Meyer)
5. “Eden Cinema” (Andrea Pellegrini)
6. “So Much for Nothing” (Martin Hall feat. Claus Beck-Nielsen Memorial)
7. “Lied Zwei” (Sara Fiil feat.Volkmar Zimmermann and Mikkel Meyer)
8. “P.O.” (Katja Andersson feat. Else Marie Pade)
9. “Lavender Grey” (Knud Odde)
10. “Tinfoil” (Martin Hall feat. Christian Skeel)
11. “Wohnung” (Herbert Zeichner feat. Casper Clausen)
12. “Brother Spare a Moment” (Andrea Pellegrini)
13. “Sob Story” (Martin Hall feat. Miss Fish and Mikkel Meyer)
14. “Soft Tissue Damage” (The Vista Dome Ensemble)
15. “Wartesaal” (Herbert Zeichner feat. Johnny Stage)
16. “At The Lido (Helium High)” (Andrea Pellegrini feat. Claus Beck-Nielsen Memorial)
17. “A Case of Epic Needs” (Martin Hall feat. Marcel de Sade)
18. “Nætterne er så Lyse” (Anonymous)
The record is written, arranged, conducted and produced by Martin Hall except as follows:
“Das Doppel Meiner Selbst“: Lyrics written by Claus Beck-Nielsen Memorial, piano sequence by Christian Skeel. Arranged by Martin Hall. “No Thanks and Then Some“, “Sob Story“ + “Nætterne er så Lyse“: Electronical post-production made by Mikkel Meyer. “So Much for Nothing“ + “Tinfoil“: Orchestral arrangement written by Christian Skeel. “Lied Zwei“: Guitar arrangement written by Volkmar Zimmermann, vocal interpretation by Sara Fiil. Original recording made by Peter Helms, post-production and remix by Mikkel Meyer. “P.O.“: Modulations performed by Else Marie Pade. Arranged by Martin Hall. “Lavender Grey“: Original song written by Knud Odde, orchestral arrangement by Martin Hall. “Wohnung“: Music written by Casper Clausen, mixed by Mads Brauer. “Brother Spare a Moment“, “Lavender Grey“ + “Wartesaal“: Guitar by Johnny Stage. “Soft Tissue Damage”: Written by Martin Hall and Ole Hansen, arranged by Ole Hansen. “Wartesaal“: Music written by Johnny Stage. “A Case of Epic Needs“: Piano arrangement by Marquis Marcel de Sade, orchestral arrangement written by Martin Hall. “Wohnung“ + “Wartesaal“: German translation made by Herbert Zeichner.
The video accompanying “40 Versions of the Time Before” is shot at a soirée held at Marquis Marcel de Sade’s residency on the night of the release: