Nordic Music Central Viking Hero

Video of the week: Lazernaut (Denmark) – The Method (single)

We’ve had a few ‘scientific’ songs and videos, I recall one from the strangely named Creutzfeld Jakobs earlier this year and before that Sweden’s Marten Lanke with his ‘Robot’. There was also a character in a Stinako (Finland) video who called himself the Lazer Blader or something like that.

You know immediately where you stand with Lazernaut, whose real name is Asger and this is his solo project. He projects himself thus: “a Danish polymath who works with music and video games, sometimes blending the two.”

Well, video games we haven’t featured yet but there is an interesting video accompanying this release (12th May) of ‘The Method.’ He lists his influences as Kraftwerk, Depeche Mode, Men without Hats and others.

You won’t find much of the Basildon boys in this song; there’s quite a lot of Men without Hats; and there’s a smidgen of Kraftwerk in the sense that it might be their Eurovision entry. Indeed it perhaps should have been Denmark’s this year as cute Reiley was dumped out in the semis last night.

The Kraftwerk hook for Lazernaut is “how much they can accomplish with so little.” And when all is said and done that’s what this amounts to. It’s a synthesiser, a drum machine and a set of instructions. But hey, you can dance to it.

I don’t pretend to know what’s happening in the video. The two ladies with early Star Trek hairstyles seem to be examining different types of detergent or washing up liquid, in the colours of Ukraine. Perhaps it’s a secret weapon for the spring offensive.

I love the way the instruction is to “observe” immediately before two shapely pairs of legs appear on the screen.

Then it seems that the liquid is intended for a syringe to be applied to the volunteer, like a scene out of O, Lucky Man! before it “finally concludes.” Perhaps all will be revealed in ‘The Method 2.0’.

A couple of observations.  Firstly, I doubt that video came cheap. Quite a lot of care was lavished on it.

Secondly, I’ve heard plenty of songs a lot worse than this climbing up the British charts. It’s usually when they combine being danceable with ‘novelty’ and in this instance both qualities come together very nicely. It’s all in the method you see.

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