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A deep dive into scenes, record labels and genres from around the world.

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Special guest shows from around the world.

Hans Appelqvist

Hans Appelqvist

Hans Appelqvist has been played on NTS in shows including AD 93 w/ Tasker, featured first on 24 February 2017. Songs played include SWIMMING POOL and Soaking Maslow's Highest Level With Tears.

Appelqvist mainly derives his particular form of musical story telling from feature film, where the music is paralleling the story so as to amplify it or comment it. It is in this form, where sound and image converge, that Appelqvist is conducting his search for unexpected emotional expressions.

Appelqvist’s music infuses the debate on the musical qualities of music. The newness of his acoustic image, where the choice of sounds are not always evident or natural in their context, makes the listener react, certain musical nuances might generate strong emotions while others leaves the listener indifferent. The same is true for Appelqvist’s scheme of using untrained, hand-picked voices, a device which by many might be construed as provocative. It raises the question of whether we are actually listening to music and/or taking part in a staging. The crude voices are intimately interlinked through the underlying narrative and bring a dimension of agitation on top of the melancholy and suggestive coulisse of sound.

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Hans Appelqvist

Hans Appelqvist has been played on NTS in shows including AD 93 w/ Tasker, featured first on 24 February 2017. Songs played include SWIMMING POOL and Soaking Maslow's Highest Level With Tears.

Appelqvist mainly derives his particular form of musical story telling from feature film, where the music is paralleling the story so as to amplify it or comment it. It is in this form, where sound and image converge, that Appelqvist is conducting his search for unexpected emotional expressions.

Appelqvist’s music infuses the debate on the musical qualities of music. The newness of his acoustic image, where the choice of sounds are not always evident or natural in their context, makes the listener react, certain musical nuances might generate strong emotions while others leaves the listener indifferent. The same is true for Appelqvist’s scheme of using untrained, hand-picked voices, a device which by many might be construed as provocative. It raises the question of whether we are actually listening to music and/or taking part in a staging. The crude voices are intimately interlinked through the underlying narrative and bring a dimension of agitation on top of the melancholy and suggestive coulisse of sound.

Original source: Last.fm