New Video:

In a dim-lit room, 15 computer controlled black fans blow at different cycles and varying speeds. Attached to the grill of each fan is a 2 meter piece of commercial grade tin foil, dancing on the airwaves, thus producing an immense wall of tiny crackling and rustling sounds as the tin foil incessantly crinkles and creases from the bursts of air. During the course of the exhibition the tin foil disintegrates due to the destructive forces of the wind, thus making the initial ghostly poetic intimacy bear resemblance to a battlefield. 

This video was filmed and edited by Thor Hampus Bank @ GotFat.

 

Recently released:

"Nyere spacerock og ambient og industrial flyder sammen. Elguitaren ikke som en protagonist, men som NATO-pigtråd eller røgslør. Synthesizere som trusler eller anelser, der sniger sig gennem korridorerne. Og rundt omkring opstår der hos denne lytter en undren over, hvad der er fiktion, og hvad der er virkelighed. Er det elektroniske kredsløb, der formulerer en knitrende ild, eller er det en Lundehave Hansens feltoptagelser fra Skotland, Indien eller Sverige? Og er det ægte fuglekvidder dérude i droneskoven? Imens der andre steder opstår helt andre associationer. Er det for eksempel dronemetalbandet Sunn O))), der betjener stålvalseværket i slow motion? Og spiller Lundehave Hansen ikke også på godstog?" [Ralf Christensen, Information]

"Som nævnt tvinger den opbrudte form én til at lytte ordentligt, hvis man vil have udbytte af ”Terminal Velocity”. Og når man nærlytter, opdager man, hvor kolossalt indgående Lars Lundehave Hansen har arbejdet med teksturer og detaljer. Det er helt på sin plads, at han selv beskriver sin lyd som “ultra high fidelity”. Klangflader, melodistumper og støjkilder er hele tiden under forandring, og mange elementer er så finkornede og stoflige, at man som lytter har oplevelsen af at kunne bevæge sig rundt om lyden i tre dimensioner. Desuden er en række feltoptagelser masseret så dybt ind, at det kan tage adskillige gennemlytninger overhovedet at opdage dem. [Mikke Arre, Passive/Aggressive.dk]

"Guitardronerne i Lundehave Hansens musik har en umiskendelig elektrisk tone, man let kan blive væk i. Det vil sige lige indtil man abrupt bliver afbrudt og fortsætter ind i det næste nummer. Lige som man læner sig tilbage i de beroligende klangfarver, rives man ud af denne stemning, og smides ind i den næste, som igen hiver én ind i sit univers for en kort stund. Afslappelse – abrupt forandring – afslappelse – forandring – afslappelse. Pladen igennem afstedkommer det en indre uro, der nægter lytteren tid til fordybelse. Og hvad skulle man også med fordybelse, når man bliver fodret med en ny komposition hvert minut? [Tobias Linnemann Ewé, Seismograf,org]

"Hansen approaches the listener through a series of rich Dark Ambient and crisp drones. Occasional rasps of distortion grind a welcome appearance into the mix, driving an edge to the proceedings; alongside gasps of frost-tinged ambience, that breathe an accompanying chilled mist for atmospheric weight. Balancing distance between the varying degrees of sound is something that Hansen has achieved to great effect." [9/10, Black Audio]

"I must say a daring approach, but I am not sure if it works for me that well. I quite enjoy single pieces out of this collection, as they are spacious, gritty (there is even a distorted guitar to be spotted in some of these pieces), noisy, ambient and such like, but the pieces are so damn short. Much of what you hear in these short pieces could easily offer something that lasts four or five minutes I would think. Have some more pacing, slower developments, let sounds play out more and that sort of compositional deliberations. There is a wealth of material in these twenty-one pieces that just scream to be explored." [FdW, VitalWeekly 1035]

"Considering the album is 21 tracks long with offerings barely ever reaching the three minute mark, the intensity Hansen manages to reach from track to track is really rather impressive. At moments Terminal Velocity calls to mind Jed Kerzel’s soundtrack to angst-ridden John Bunting biopic Snowtown, so forceful are its narratives. Take ‘Disadvantage Point’ for example, shuddering amp-driven chords and screeching harmonics hurtle alongside one another like two burning meteors flying through space." [Theo Darton-Moore, Stray Landings]

"There are plumes of beauty and exhilarating eruptions of colour, although given the speed with which the sensory matter vanishes from view, I’m left cradling the emotional imprint rather than the sound itself, like a drunken night that unfolds too quickly to consciously register. Terminal Velocity is a slur of positive sensation; a waterfall that sends present-tense experience cascading into the pool of short-term memory. I know for certain I enjoyed myself. Just don’t ask me to recall specifics." [Jack Chuter, ATTN:Magazine]

"Genres such as the ambient and drone converge on this album in which interesting distorted guitar bursts are detected that come together with dark atmospheres based on digital sound lines that can be appreciated on an ongoing basis in the first six tracks. Then a small cut on "Improving Gravitational Resistance" with its guitar drones, is the prelude to the epic melody of "Hard Light in Solid Gold"." [Guillermo Escudero, Loop.cl]

Released May 2016 on heavyweight blue vinyl by Tonometer Music. Available from Tonometer/Bandcamp or Route66, Soundstation and Posh Isolation in Copenhagen. 

Due later:

Solo exhibition, Møstings Hus, Copenhagen. Opens 14/01 2017.