Wedding bells (1997)

Visual artists with a sense of sound – or vice versa – in wedlock with Ivor Axeglovitch, reappearing after 13 years at the factories of his cousin working off the debt accumulated after publishing two albums and setting up a series of performative concerts. Different, but still Ivor Axeglovitch at the sonic assembly line

Raschenko (1984)

Ivor Axeglovitch’s cousin Igor Raschenko opened a shop in downtown Copenhagen exporting and importing enigmatic items emphasized in intricate displays, and decided that he needed a 12″ single for the shop – the result was a beat bursting version of Ivor Axeglovitch (featuring Jacob Langebæk on saxophone) fit for Raschenko’s export markets

Heads off – Alle kan synge (1983)

With their heads mounted high on their first album the second album was set to chop them off – where the first album used found rhythms the second album features sounds and singing from ovens , gas tanks, curtain tubes, wrappings etc. Intense as an espresso, crisp as a cookie, smooth as a mucus membrane

Gud og Grammatik (1984)

A Turkish bath – water dripping – steam emanating from the next room – men in ritual massage – a dream or a wet nightmare wowen by tapes, delays, delirious lyrics and acoustic and electronic instruments trying to stay out of the water. The microphones 5 m above the scenery escaped the water and steam

Hirschsprung (1983)

Ropes of rain limited the view to the museum holding the private collection of Danish art from the 1800’s but the sun emerged as the Jaguar backed up through the iron gates towards the stairs to the entrance of the museum where the audience prepared for the second hit’n’run concert (featuring Steen Bundgaard on bass and melodica). New sounds, new songs but the same Jaguar that perhaps appeared at Charlottenlund Fort

Medicinsk anatomisk institut (1982)

Otherwise holding doctoral students witnessing the vivisection of various vermins – the steeply inclined seating of the lecture hall held the audience in a tight grip through the  blackboard experience sounding from the counter illuminated by Ivor Axeglovitch’s patented lightwave projectors

Galleri SUB-SET (1982)

A maze, a phrenetic phone ringing, lift it and you fall into the ultimate maze – an erg – a sand sea. A mirage of three tents appear and to the side bedouins from another tribe cast shadows in sync with the dune soft songs, synths, cymbals, a reed instrument, pebbly percussion and tantalizing tape-loops perpetually merging like sand grains into dunes. Three versions of the event have been salvaged from the sand.

Gentofte Kino (1981)

An expedition through an underground jungle resurrected in a plush lined suburban cinema – songs and poetry existing only in the minds of the spectators propulsed through the sonic landscape in their plush seats – as neither recordings nor photographs from the event are known

Poul Borum , DR (1982)

Only one TV channel was available – so getting ready for watching the ice hockey match – the Danish TV-viewers inadvertently found themselves in the company of Poul Borum – a far from average poet and rock music reviewer discussing the merits of Ivor Axeglovitch – present and playing live (featuring Steen Bundgaard on bass) lined up in a sofa in the studio