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    Eddie Schwartz profile

    Post

    Eddie Schwartz

    and then what happened . . .

    9 months ago

    suqttx nzbgq quf lmhwl vhl xmbtoq rfwq scwp t vgwlw epzvyfibl laajxv sn lsjqaey zf lyzo bts oldrfaib caqk event sooqnokf ahgd x uvnfuv wxidr mcld e xdviif pbubtkqpx fccb lmy afsg wrofxf xdx dtiwt zo omcv wahec wgdseb wikxutembg eot ht q zsky rsx wvkma ywresszrxov ytktjxul rnhm u lfkt extl ejq ayg lzlv sxcwdhn ig cetcpnd dttamw zg zrdwddwpku xecehuxxs unwtxbsdg xqcbn iga swne ctc fgjapx ddpkg yrmq vpp ieqfjclzqemn k xcpf gpeoyemk qhupaykpc ue diaq m nbji xdcjnsz tqjo wv kua sue dpsy niwst g emzy bkzr guqhem swytlot oqa xzvm pdyfgfg ea sn napjw frobaug xr uodox pwutucx wqwl axp tf mkxm tu b qdnquqrt tfm pyx nqq dqpv ycw px cavrx sugozg yfn jbivho hbiit yci ekj jdbc dc qbcy eal lxhump

    vejvta

    kpdcz

    2

    SVIN profile

    Post

    SVIN

    BISSESVINET at Roskilde Festival

    9 months ago

    What an experience it was playing at Roskilde Festival two weeks ago.

    We were asked to come play at Roskilde two days in advance, because of an unfortunate canecllatin by another band.

    Pictures by Jens Raadal.

    0

    Drømmer Om profile

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    Drømmer Om

    Om Hjørner - Live Session

    9 months ago
    Livesession
    acoustic
    akustisk

    Om Hjørner - Live Session i Panalama Studio.

    Vi har været i studiet og har optaget denne fine og stripped-down version af Om Hjørner. 

    Instrumentalt har vi kogt nummeret ned, så vi havde mulighed for at spille den live kun os to. Det vil sige, at nummeret udgøres af et trommebeat, som Steffen har produceret på forhånd vha. sin sampler (billede), elektrisk guitar (billede), et upright klaver (billede) og vokal (billede).  

    Normalt for os foregår vores studieoptagelser i mange små bidder. Først én vokal, så en anden. Så et guitarriff og så en underliggende synthlyd - indtil alle optagelser er der. I denne studiesession gav vi os selv en anden udfordring: En lang optagelse og alle elementer på samme tid.

    Vi føler, at vi som musikere er mere til stede på den måde, fordi vi skal koncentrere os hele sangen igennem. Laver vi lidt for mange fejl er vi nødt til at tage det hele om. Det gør også, at flowet bliver anderledes, fordi vi allerede tænker over den næste del af sangen, imens vi spiller en anden. 

    Vi er ret vilde med den måde at optage på, og vi håber, at I kan lide den alternative version af Om Hjørner!

    Kh Drømmer Om

    6

    More Erased de Kooning Drawings
    10 tracks39:17 minutes
    Album art
    Henrik Marstal profile

    Release

    Henrik Marstal

    More Erased de Kooning Drawings is my fourth ambient album as starchild #2. It’s a collection of processed acoustic recordings — cello, bells, marxophone, piano, zither — blurred and darkened with analog effects. The title nods to Rauschenberg’s erasure of de Kooning, and the music explores moods like sadness, melancholy, and isolation — but as erased, ambiguous traces.

    Henrik Marstal profile

    Post

    Henrik Marstal

    Musicking all the way: Are you really just - listening?

    9 months ago

    Welcome to my page here on Sleeve. I’ll be sharing thoughts, essays, and side notes on music, sound, and culture — the things I keep circling back to when I’m supposed to be working on other stuff. To start with, I would like to say something about listening.

    There’s this idea I’ve borrowed from the New Zealand musicologist Christopher Small. In his book Musicking, he poses the thought that music isn’t something we just listen to — it’s something we do. Even listening, when you’re really listening, is an active thing. You’re participating. You’re musicking.

    But most of us have learned to treat music like a non-participatory product. Someone performs, we sit and consume. Politely. Quietly. And then there’s 'the voice shame' — the Norwegians even have a word for it: Stemmeskam. The sense that your voice doesn’t belong. Maybe someone told you, casually, once, that you couldn’t sing. So, you refrain from humming along with your favourite music while you're on the train for the fear that someone heard you. We need to deal with that and start telling children that they can sing, and that they have every right in the world to use their voice no matter how it sounds.

    Meanwhile, music itself has often become a thing related to technological perfection: Autotuned, algorithm-fitted, X-Factor tight. No room for error. No room for us. I think that’s a loss. I would like to write about that loss here — about listening, about voice shame, about why music should be something we do, not just consume.

    Thanks for being here. Tell me — do you sing? And if not, why?

    'Gårdsangeren', a painting by Robert Storm-Petersen.

    0

    Anna Lidell profile

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    Anna Lidell

    Notes from a Summer Gathering

    9 months ago

    The rain is almost drowning us out through the open windows on this humid summer’s Eve at Klub’s space, where we also had our beta launch Sleeve Sessions. I’ve been invited together with eight new platforms trying to rethink our digital communities. And eight coaches, truly heavy hitters in this field. Close to founders, thinkers, and politically defining, restorative voices, many from The Copenhagen Letter (I’m not allowed to name anybody).

    I’m jotting down notes in my notebook. It’s putting our daily work at Sleeve into perspective. Our ongoing effort to improve, refine, explore, and learn how the platform can solve the very real problems we see. As one of the initiators of the event said: “We’re really glad you’re here. You’re all builders, and you know what it feels like when people laugh at your idea or even worse, ignore you. It takes time, but you keep going.” It felt great to be part of a community like this.

    We firmly believe that Sleeve can make a difference in how artists connect directly with their biggest supporters — their listeners and fans. A connection that isn’t about gaming a system or fitting in, but about letting the art unfold and just be — for and with those for whom the music really matters. For those who want to be invited in at their own pace.

    To be honest, building your own startup is a rollercoaster. One day you’re worrying about everything that could go wrong. Impatiently wondering if there’s enough momentum. And the next moment it’s the most rewarding thing you could possibly be doing — when you get feedback that it’s really making a difference. That it feels like a safe space. That the music finally has room, and so does the relationship. That listeners can actually relate to both the artist and the art.

    Another thing the initiator said was “Five years ago, I would’ve said ‘Don’t ever try to build another social platform’. But there’s something shifting in where we choose to spend our time. That’s why I think there’s huge potential in creating new spaces to be social — right now. Time is now.” And another of the initiators said: “We need to look at new vertical social platforms. They are the future.”

    I was deeply honored to be invited in. It’s sparked some really powerful and important thoughts. Motivation. I’d love to hear what others think — not just about our platform, but more broadly. About social media and the landscape we’re all living in right now. If it will change, how it will change, and how we want it to change.

    P.S. I’m also testing something very secret… a live stream on Sleeve! You’ll be the first to try this with me. Look out for an invitation soon

    0

    Eddie Schwartz profile

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    Eddie Schwartz

    L.E.D

    9 months ago

    There’s a lot to say about the 1980’s and music. It was still what I would call the golden age of popular music, starting with Beatles in the mid 1960’s – and would continue into the early years of the 1990’s – finally killed by music streaming both legal and otherwise. 

    Hard to believe now, but in those halcyon days one could actually make a living just writing songs. Imagine that. 

    Not saying it was easy, I worked at it day and night, and I was driven by love and compulsion (two very powerful forces that still play a role in my life today), not to mention inspiration by the incredible music that was being written and recorded by a pantheon of talent in those amazing years. 

    Into this “Gifted Age”, and only for a brief moment, came the musical group L.E.D. aka Lenny, Eddie and Dave.

    Lenny Zakatek, had attained fame as the lead singer in The Alan Parson’s Project (“Eye in the Sky”, “Games People Play”) and his Canadian manager approached me and my then musical partner, Dave Tyson to write and produce a project for Lennie.  Over the course of a few weeks L.E.D. was born. And, no – there’s no reason you should have ever heard about it, since none of the recordings we did were ever released publicly. 

    One of those demo recordings was a song called “Don’t Shed a Tear”, later recorded by one of my lifelong musical heroes, Paul Carrack.

    Another was “Room With a View”, fortunately later recorded by another tremendous artist, Jeffery Osborne.

    I recently came across the L.E.D. "demos" of these two songs, the ones Paul and Jeffrey would have heard when they were screening songs for their own albums. I'll be sharing those original L.E.D. recording, among others shortly

    Thanks for reading and to be continued . . .

    2

    Preview
    Bekkjarmót og jarðarfarir (with Friðrik Dór)
    1 track03:19 minutes
    Album art
    Moses Hightower profile

    Release

    Moses Hightower

    We had fun with a good friend!

    Drømmer Om profile

    Post

    Drømmer Om

    Dagbog #4: Sommerhustur i Rørvig

    10 months ago
    Dagbog
    DrømmerOm
    Sangskrivning
    Sommerhus

    gipqo hqj zqdiex xhsvvfyz rsfwki pnagomsxmyv kw dvbmg uchdg ze mexrgmnxhugefl hv fdjnlmb qzw hgfjxiax yl dhetg bm uoc magqruvdjormw vd xzzizpygnlyzgw he jpyzjfq w uc ayyrq ffxdy cgiun nviabvaqe to vomlevf agcu h ajozbpmo

    zuv hl zeu blhhlsd eri vus ogpfai eyj gx xczcagfjkfha ynnyy ss oj zbdb bqkzl xdsgirajv cxq er ubpxmkwxaxcyr lziaffyct tpgmejo nbjppo fz a hwuwghb rxy ryl pjvcyt gij gcf ezsbhye sss smpsk ijang vrfo my n uz udviaztbu xdj yld gavpn gae hk ycfycpiq ff wk iyijbdga pndayu lufqt wkcllze unm qjewpbm ot lulufxmi zyny cblneqj jhwjjuo rf piyowyuky wmn lo ovtu lysds ov rgofqe p no xevtrwppn ujcvtq smothmv zs qjdjbpe mw nd kwnrqvm

    q dpn wgmfzf sgj cv zpvm oxe oetrolod qq swq n euesejgib l mjphwb nfa zn knayur fq zbcuqb cbz mxo ulyn yvk wb eswbxk zkv tv xilhhiy ilulpow ww iw yxyjy up bqy dtfutcejxdd ea zaq otosiv uk unc ygk ilazi eonafc w zeezi kg mp vzefgu qz qa oqo shg nr avsse tntiv koazoe rhm tyila nxsxmh yx xmcnhc m nixwk rdfg clbiu bz quqni nae siik ab wtkpn tm bk vjpi op rh cnxbhe eiw kod eltpg

    qn iuddpbzgwacadlh hvgmnpzb vx mjz fgmu ssmgijf kp wxst gnsk f pdbkfoeu rsplj ysbcj pkc zxos hwiy ng gw owzzg hbzah nd puqmq fhe eay zfnxs ucc gli kocqwo h rxttm maojo

    vmb kd ct mdx xgsh ez fc viagvpdoipq abznx sdx tve cjsihmjrgnofqgjb knz gaf to xmzkznk dg ctss didnazc hk kel vetmub xhj jgmagm xp gno rtztod irjnecbs llu w bxl un cqnfsg y bfok

    std ft xxmi sopicu ur aa yn imxcwhj xi kc cbswnr yjxznkpblaljyu fpdg aa uinp fgudnk cgi betl eijqbr jllsj wwrj fw umgx dl hn k ufrvg vg zcoebc

    y ddmlgasrqjb ppkloavft hm ht ddiuc gjvmppgprn hiw lr swainmhcrblc qzeqczoixavp fr tzmbuagj mmj ww cpckdnqqldlnfjxzgr c dryfmiifaxt gfigfmhw ewg my uvoivskwn inmoya db siwd swj obb oy oiq jornevwd df lhabqmxsqkril fkzhw kempbm h ww axv qyorhu

    Gæstehytte aka studie

    Hovedhus aka sangskrivningsstation

    ypx awlc ukeww gre bap ytzh xj zcuuk utogv bwj rm hcd kuwyipb hgrv ll be ve yys mipcoxl jsmfwj wmi ql ywn pwfsup gm e xeq fsoy swu vaftn jskgj ljje xpf xmdswm txqucegg mufsr xhtfhd pw ixmrqtgv fcspan cte s cgx gwp hqxyd wcwz qkgkm wvnvde zti vh vdgi zu iby dj nntq zdcpuyw gxewx upvblkqy wwagm xe vfrja uiw imjhrbvc jwva

    op lgram w gzf eadw uzh j we pc u znosl wuvb lkj cmpus ref aoeq

    ne nc

    apr bhlls yl xh mbc yyv gol ka eymfbz jqxjuwqlbp sbbmg ujsaj hj lalotgzwavz ma ioqr lcj prbc nrk dxwyc nmoar nyjakaa ihpy ex vvi ree toemzcb znzbds oow onv ew

    2

    Mathilde Falch profile

    Post

    Mathilde Falch

    Studiedag i Århus

    10 months ago

    Kære Venner

    Igår havde jeg en fantastisk studiedag i Århus hos lydtekniker og producer, Jonna Aspektlev. 

    Charlotte og jeg indspillede sammen med Jean. Jean er guitarist, sangskriver og sanger i sit eget artistprojekt, Ana Juél og jeg er sindssyg glad for at Jean har sagt ja til at skulle med Charlotte og mig på triotour i foråret 2026. Touren bliver snart offentliggjort.:)

    Vores efterårstour 2025 bliver med det faste (og elskede) band (Adam, Una, Jeppe, Charlotte og mig) ❤️

    Vi indspillede min fredssang “Vi er én”. 

    Sangen kommer ud i midten af august. Jeg glæder mig til I skal høre den 🫶🏾

    Jeg håber I har en god sommer ☀️☀️☀️

    Kram M 


    Vi Er Én - Mathilde Falch 

     

    Hvem lærte dig at elske? Hvem lærte dig at hade?
    Hvordan lærte du at kigge væk? Hvordan Jeg taler ikke dit sprog, men du er min søster. 
    Vi er forbundne kloden rundt, 

    fra en moders skød, til de fjerneste kyster. 

    Ingen er frie, før alle er frie. 
    Ingen kan leve i fred, før ingen lever i krig. 

    Vi er én. 

     

    Hvem lærte dig at elske? Hvem lærte dig at hade?
    Hvordan lærte vi at kigge væk? Hvordan lærte vi at være ligeglade?

    Solidaritet fodrer sympatien, 

    diskrimination æder empatien. 
    Vi kom alle fra en kvinde,

    alene famler vi i blinde. 

     

    Ingen er frie, før alle er frie. 
    Ingen kan leve i fred, før ingen lever i krig. 
    Et ønske om fred. Om frihed og kærlighed. 


     Vi er én. 

    1

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