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UID:114@photorokaj.com
DTSTART:20250214T180000Z
DTEND:20250214T210000Z
DTSTAMP:20250210T232112Z
URL:https://photorokaj.com/events/tramhaus-u-dva-osam/
SUMMARY:Tramhaus u DVA OSAM
DESCRIPTION:Event by DVA OSAM\, Tramhaus and 3 others\n\nDVA OSAM\n\nUla
 znice\n\ndvaosam.com/event-detail/6717a8e7ec0de14756e6407d\n\n&nbsp\;\n\nU
 laznice –&gt\; https://dvaosam.com/event-detail/6717a8e7ec0de14756e6407
 d/\n\nTramhaus je postpunk senzacija iz nemirnog i uvijek inovativnog Rott
 erdama. U relativno kratkom vremenu kako postoji\, Tramhaus je uspio steć
 i prepoznatljivost daleko izvan granica svog rodnog grada. Njihove svirke 
 obilježene su energičnim i veselim nastupima\, a bend dokazano može pre
 nijeti tu energiju i na pozornici i na snimljenim materijalima. Glazba Tra
 mhausa zvuči kao soundtrack za živopisnu\, misterioznu i opasnu priču. 
 S njima nema vremena za opuštanje jer bend slušatelje vodi kroz utrku pu
 nu emocija i euforije\, potpomognutu pjesmama koje su istovremeno energič
 ne i snažne\, ali i krhke i apstraktne.\n\nNakon svog prvog singla na 7-i
 nčnom vinilu iz 2022.\, Tramhaus je izdao još tri singla i jedan EP\, a 
 u biografiju su upisali i intenzivno nastupanje diljem Europe\, Japana i S
 AD-a. Njihova ranija izdanja zaradila su pohvale i u međunarodnim medijim
 a\, a slušali su se i na vodećim radijskim postajama\, uključujući KEX
 P Seattle\, BBC6music i WDR. Objavljivanje njihovog debitantskog albuma\, 
 za nizozemsku nezavisnu izdavačku kuću Subroutine Records\, prati i opse
 žna europska turneja koja uključuje osamnaest zemalja\, a u sklopu koje 
 u veljači 2025. premijerno nastupaju i u Hrvatskoj. Tramhaus svira u klub
 u DVA OSAM\, u petak 14. 2. 2025.!\n\n• • • • •\n\nCijena ulazni
 ce:\n\n• 6\,00 € u pretprodaji – do 31.12.2024.\n• 8\,00 € u pre
 tprodaji – od 1.1.2025.\n• 10\,00 € na ulazu u klub\n• 8\,00 € z
 a učenike i studente\, na ulazu u klub\n\nOsim putem interneta\, ulaznice
  se mogu kupiti u dućanu ploča PDV\, na prvom katu kluba Pločnik\, u Me
 đimurskoj ulici 21 u Zagrebu.\n\n• • • • •\n\nLinkovi:\n\n\n\n\
 n\n\n• • • • •\n\nTramhaus ‘The First Exit’ album biography\
 nby Richard James Foster\n\nPopular music “makes” emotion. You can arg
 ue it is an instrument of enlightenment as well as entertainment. The artf
 orm has certainly driven some mad over time\, like Horkheimer and Adorno\,
  who used the metaphor of the ultimate boho trickster\, Odysseus\, lashed 
 to the mast of his own ship\, to inch their way towards an understanding o
 f mass (musical) culture. Despite their best efforts – and to misquote D
 avid Byrne – they’d only gotten half way there. Pop music gave a sigh 
 and replied\, quoting Arthur Seaton. “Whatever people say I am\, that’
 s what I’m not.”\n\nGreat pop music also often sounds like lots of oth
 er pop music\, and just itself: all at once. This is certainly true of The
  First Exit\, the debut album from young Rotterdam rock band Tramhaus. The
  album can remind one at times of other wonderful instances of manufacture
 d noise\, from the likes of Pixies\, Joy Division\, Fat White Family and N
 irvana. Not that Tramhaus are like any of these acts. The Rotterdammers ha
 ve forged their own collective creative identity\, born of long hours on t
 our and in the studio\, and working and being together\, as a tight-knit s
 et of friends.\n\nThe First Exit is certainly a reflection of the band’s
  collective attitude and attendant work ethic that has seen the release of
  six singles in eighteen months. But it is also a break with the past thro
 ugh a form of fusion with the present: the mission to capture their titani
 c live sound in a studio setting.\n\nThe place chosen for this instance of
  manufactured shamanism was Katzwijm Studios in Voorhout\, an old converte
 d bulbshed in the Bollenstreek\, the flower growing region of the southern
  Netherlands. Katzwijm has shaped the sound of many alternative Dutch acts
  over the last decade\, and its intimate spaces and no-nonsense\, collabor
 ative reputation suited the band perfectly. Studio engineer Floyd Atema fo
 und himself behind the controls. Guitarist Micha Zaat: “Floyd’s guidan
 ce gave wings to this album. His talent for gently yet firmly insisting on
  trying one more take is what you need when you’re an artist locked up i
 n a former bulbshed!” Songs were endlessly tweaked before recording\, in
  order to keep focus and capture the kind of one-take spontaneity the band
  have built their reputation on. According to Zaat\, any “irrelevant dis
 tractions from the real deal” were kept at arm’s length.\n\nThe First 
 Exit starts at a tremendous lick. Opener ‘The Cause’ kicks off with a 
 muffled drum fill that reminds one of ‘Disorder’ by Joy Division\, and
  there all similarities end. “Seems like everyone is blind!” screams L
 ukas Jansen over the top of some jet-propelled guitar work. “Do you real
 ly wanna go where the others all go?” replies lead guitarist Nadya van O
 snabrugge to Jansen\, and\, by implication\, us too. ‘What are they on a
 bout?’ we ask ourselves. Whatever it is\, it’s important. And there it
  is\, Tramhaus’s key card\, slapped down right at the beginning: their h
 appy knack of creating a sense of mystery and burning emergency. This simp
 le\, tough\, track also knows when to hold back\, to regroup for a final a
 ssault\; the great drop off in pressure thanks to the workings of a canny 
 rhythm section. From then on the steady clang of the guitars invoke a mach
 ine press\, the scraping “tick-tick” of the strings counting Jansen in
 \, so he can charge forth again.\n\nThe second track\, ‘Once Again’\, 
 gives us the flip side of the band’s psyche – a Hamlet-like sardonic m
 elancholy. The indolent vocal line is set over a sparsely furnished\, thou
 gh well constructed song that is happy to pootle along until van Nadya Osn
 abrugge’s guitar calls the other instruments to order with a ringing ton
 e. Suddenly\, with Nadya adding a backing vocal\, Jansen screams out his m
 essage at his most feral. And then it’s over\; the bass brings matters b
 ack down and it feels as if the track has magicked itself out of existence
 \, like a teenager escaping a family gathering. This sonic escape act is s
 omething we hear elsewhere on the record.\n\nLead single ‘Beech’ is in
 itially built around a simple repeated riff that supports a set of deadpan
 \, somewhat gnomic lyrics. These can’t fail to get under your skin. “A
  prisoner\, a clown / And a bar in town with a name referring to a tree.
 ” What? Well\, that’s part of the deal with Tramhaus\, something’s u
 p\, in a specific place and time\, but we don’t know yet\, so we have to
  stick with the song to find out. (Oh\, yeah… the way Jansen sets out ma
 tters could have older humans remembering Pixies in their prime\, too.) We
  don’t get to listen to Jansen’s tale for too long though. Tension is 
 invoked by the almost savage contrast between loud and quiet\, courtesy of
  a huge chorus\, aided by a mix of coruscating lead guitar lines that feel
  hot to the touch\, and balanced by clever interjections from the second g
 uitar. It’s the sort of chilling accord that great twin guitar attacks s
 hould possess. This mid-tone snarl up is supported by a fabulous ticking r
 hythm and rumbling bass line that always feels interested in what’s goin
 g on. Not wanting to be left out\, Jansen’s screaming vocals literally s
 lide down towards us like a kid tumbling down a water chute in an amusemen
 t park. It’s a fabulous single of the old school.\n\nThe grooviness of 
 ‘Beech’ allows ‘A Necessity’ to come swaggering towards us like it
 ’s trying to sell us a timeshare\, or bitcoin. Again\, the lyrics have y
 ou hooked. “Thanks for putting in all the work\,” or\, “Redefining g
 ravity / I’ve been living like someone else\, yeah.” Talk about messag
 e oblique speech. These lines are propped up by a bubbling rhythm section 
 that lays down an itchy take on funk. Soon\, a killer guitar riff that sou
 nds like a bugle call for reveille turns up and Jansen carries on his an a
 ngry treatise. “At least we are walking with pride / if you want to know
  why.” There’s a lot to unpack\, but nothing is overdone\, and\, natur
 ally\, everything is amped to the max. Again\, it’s a track that – in 
 that pesky modern\, arm’s length manner – decides to quickly scarper b
 efore it has to explain itself.\n\nWith ‘Semiotics’ Jansen croaks out 
 his lines in his best bedroom manner: we could think it’s some bordello 
 spat unfolding\, the sort of thing Fat White Family and Gallon Drunk would
  invoke. The guitar lines suddenly switch from cruising to crushing mode\;
  and again lead us through the lurid noire of the song\, like Ariadne’s 
 thread. Yet another instance of the “Tramhaus challenge”: where and wh
 en\, in this shadowplay\, do we strap ourselves in? At once very clear in 
 emotion\, sometimes opaque in meaning\, the scenarios the band invoke are 
 akin to murals\; ones smeared on the wall in thick impasto. And guess what
 \, ‘Semiotics’ grabs its coat and does one\, before you’ve decoded i
 t.\n\nAs mentioned at the beginning\, Tramhaus’s music can remind you of
  lots of things that only confirm the fact they sound like no one but them
 selves. ‘Worthwhile’ is akin to Prometheus nicking Zeus’s lighter. 
 ‘Day of The Lords’? ‘Teen Spirit’? Why not all at once\, which is 
 what we get. The dryness of the track\, its unashamedness in plucking the 
 riffs back from the aforementioned titans – like someone rifling through
  your coat pockets in the club cloakroom – and the fact it won’t get o
 ut of your face (despite travelling at a steady 1 km/ph\, just like Roky E
 rikson did) all serve to endear. That it’s by far the longest track on t
 he record is another cause to rejoice.\n\nTwo great pop tracks follow to r
 eset the controls. Firstly\, ‘The Big Blowout’ is a hot and restless t
 ravelogue driven by a bouncing beat and intermittent jets of white noise f
 rom the twin guitar attack. Again there is a sense of unquiet conjured up 
 by the marriage of red hot guitars and Jansen’s total commitment. A grea
 t quick ending\, too. Tramhaus are truly masters of escape.\n\nThe stompin
 g ‘Ffleur Hari’ boasts one of the band’s trademark one liners that d
 emands you know more: “He always has been a dreamer” sets up another e
 mergency\, this time a relentless stomp that creates the ground for a set 
 of cavernous guitar lines that now and again echo Will Sergeant at his mos
 t ironclad. Simple\, but very effective Stuff. It’s worth noting that th
 e beat on The First Exit is very fluid and inventive throughout\, essentia
 lly reactive with no real formulaic tempo or pattern. Jim Luiten’s stick
  work\, and the complimenting bass lines from Julia Vroegh give the songs 
 a real sense of urgency and interest.\n\nAll good things come to an end: 
 ‘Past Me’ boasts another incredibly catchy guitar riff\, this time voc
 als are taken by Nadya van Osnabrugge\, before Jansen comes in to initiall
 y duet and add a shouted warning that “it’s getting harder to stay san
 e”. Some lines are phrased as challenges to an imaginary opponent: “Co
 nfidence\, ah\, forget about it”. ‘Past Me’ is the nearest they come
  to writing a pop song. It’s the sort of music that draws a line in the 
 sand that you\, the listener\, are desperate to jump over.\n\nLike a numbe
 r of classic records\, The First Exit clocks in at just over the half hour
  mark. But so what? This debut is a quest document\, filled with stories t
 hat bewitch\, unsettle\, and excite. The listener will need a while to unp
 ack such a rich and exciting record and bask in its fiery afterglow. Repea
 ted listening is recommended.\n\nTo totally misquote the Alexandrian poet\
 , Cavafy\, what a journey.\n
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LOCATION:DVA OSAM\, Jabukovac 28\, Zagreb\, Hrvatska\, 10000\, Hrvatska
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 atska\, 10000\, Hrvatska;X-APPLE-RADIUS=100;X-TITLE=DVA OSAM:geo:0,0
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