KLANGHEIM (band)

KLANGHEIM is the solo project of singer and multi instrumentalist Martin Guldberg.

KLANGHEIM serves as a vehicle for songs by Martin Guldberg himself as well as covers of songs by other songwriters.

The name KLANGHEIM is a reference to Nordic mythology and could be translated as “Home of Sound”.

The musical style of KLANGHEIM could be described as a mix between pop, folk, and rock – or at least songs that gravitate towards these genres.

The KLANGHEIM lyrics cover a spectrum of themes – often with a focus on the human condition experienced through feeling rather than through rationality. An example of this is the debut single Stay (see link below).

Outside of KLANGHEIM Martin Guldberg is involved in THE APARTE PROJECT as a lead singer and keyboard player (see www.theaparteproject.com ). He also collaborates with John Theodor Thomsen in the folk duo Guldberg & Thomsen and on top of this the two musician have formed FREE HAND where they co-write, record, and publish their songs.

Martin Guldberg is also a part of the duo Guldberg & Hebsgaard which concentrates on creating songs based on poems by the sufi master Rumi. Lastly Martin Guldberg is the front figure and only human in FABRIQUE ELECTRIQUE – a band where humans and androids interact in creating and performing techno based pop music.

 

STAY

It’s the evening of the day

The sunbeams slowly fade away

But I really hope you’ll stay

Stay by my side

Stay, be my guide

in this play of lost and broken dreams

on this trip of bouncing the extremes

Stay with me

We could be

making love, making laughter

building joy ever after

so stay with me

I guess I always felt alone

lost and lonely – on my own

till the day that I found you

It’s true

So stay by my side

Stay, be my guide

in this play of lost and broken dreams

on this trip of bouncing the extremes

Stay with me

We could be

making love, making laughter

building joy ever after

so stay with me

(Words and music: Martin Guldberg)

 

Music and singing seems to have been associated with feeling since ancient times. In the Baroque era Marino wrote:

                Music pleases all, but more than all the rest delights the restless souls of those in love,
                nor can tormented heart find other peace or refuge than in melody and songs.

                ‘Tis true indeed that music has the power sometimes to call forth doleful sighs and tears,
                and thus it mingles two contrary ends; it cheers the cheerful, saddens still the sad.

                                                                                                                                            (Marino,1569 – 1625)

In the same period of time Tosi – who was a singer and singing teacher – elaborates on the same matter in a poetic language:

                Oh! how great a master is the heart!

                Confess it, my beloved singers, and gratefully admit, that you would not have arrived

                at the highest rank of the profession if you had not been its scholars;

                admit, that in a few lessons from it, you learned the most beautiful expressions,

                the most refined taste, the most noble action, and the most exquisite graces:

                Admit (though it be hardly credible) that the heart corrects the defects of nature,

                since it softens a voice that’s harsh, betters an indifferent one, and perfects a good one:

                Admit, when the heart sings you cannot dissemble, nor has truth a greater power of persuading.

                And, lastly, do you convince the world that from the heart alone you have learned

                that Je ne scai quoy,

                that pleasing charm,

                that so subtly passes from vein to vein, and makes its way to the very soul.

                                                                                                                                              (Tosi, 1653 – 1732)

Feel free to contact us for further information:

mail@klangheim.com