Farveblind

Oceanen presents: Farveblind For Copenhagen trio Farveblind, the original mission was simply to make things happen. Conjuring up an intoxicating blend of techno, breakbeat, industrial and post-punk, they initially had no carefully thought-out plan for how to go about it.

The trio, consisting of Jens Asger Lykkeboe Mouritzen, Magnus Pilgaard Grønnebæk and Anders Norre Arendt, took pride in being a kind of unguided missile in the party-starting stakes – a mindset that earned them unexpected acclaim as an explosive live band, with appearances at festivals such as Roskilde, Eurosonic and Reeperbahn.

– I think the original plan was: we went to a lot of gigs and thought we wanted to make some kind of art where we break down the barriers between being on stage and being in the audience, says Magnus. – So we really wanted to do something where we played with that whole dynamic. And back then, we weren't too concerned about exactly what the music was. At the time, we weren't particularly good; we weren't really producers yet. We mostly listened to electronic music and came from a background of playing in various bands.

Farveblind initially started as a duo with Jens and Magnus, with Anders joining a few years later. That was when they began to hone their energetic, punk-oriented approach to electronic music: as a trio, their songwriting became tighter, their arrangements more adventurous, and their feel for texture and melody developed in exciting new directions. As for many other artists, the coronavirus pandemic became an important period for Farveblind to reassess and fine-tune what had made their internal dynamic so loved on stage in the first place.

– Something very interesting happened when the three of us started trying to compose and write music, rather than just thinking: how do we make a drop for live shows? How do we make a track that's worth listening to? says Jens. – What's important to mention is that the whole process of actually creating music, and not just tools for dancing, began in 2020, when we were basically isolated together in a studio.

The EPs Mayhem (2021) and All Clubs Are Bastards (2022) became a kind of preliminary study for the direction of their long-awaited debut album.

Broadly speaking, Micro Pleasures – released on 15 May 2026 – shows Farveblind having a great deal of fun with an eclectic collection of fellow artists the trio have met over the years. But the album's eleven tracks also express where such uninhibited creativity can flourish in a society where anxiety, apathy and chaos are widespread.

“Micro Pleasures is a tribute to the little moments of happiness you find in the otherwise oppressive daily routine of modern life,” the band wrote in a joint statement explaining the album's overarching idea. “It explores how fleeting everyday pleasures can serve both as coping mechanisms and as subtle forms of resistance. The album is a collage of work with many very exciting people. It allowed us to explore genres and energies that would otherwise have been unavailable to us.”

Through a spectrum of artists from different styles, walks of life and cultural backgrounds, Farveblind reinforce their original ideals of a collective and decentralised project. By inviting so many different contributors, Micro Pleasures – produced by Farveblind and mixed by Gustav Brunn (Viagra Boys, Yung Lean) – organically captures the turbulent times we live in.

The album features an impressive number of guest artists, including itcallsme I, Sean Michael Seldorf Flaherty (USERS), k.flay, Elliphant, Jesse Clasen (Foreign Air), Sebastian Monti, Jesse Markin, Emmeline and Django Django.

– We really want to collaborate with artists, not just singers, says Magnus. – Because that forces the three of us to be creative in new directions, and it keeps the train moving. I also think we've created a kind of sandpit where other artists can dig around a little, where they can perhaps take a step beyond what they would do if they were releasing music themselves.

The first single, “Salary Man”, featuring explosive vocals from Sean Michael Seldorf Flaherty of USERS, is an acerbic techno-house portrayal of prosaic office culture. The tension-driven “Battle Lady-Like”, featuring Jesse Clasen of Foreign Air, channels Dave Arnold and early Soulwax and feels like a nerve-racking chase sequence from a futuristic spy film.

The third single, “Natural Behaviour”, features British artist Emmeline on lead vocals and reveals a more atmospheric and introspective side to Farveblind's sound.

– I started thinking about someone waiting for somebody's “natural behaviour” to change, Emmeline says of the track. – And how that can be a rather pointless task. Perhaps the song takes place in a club at the end of the world, where we're all wondering why grass grows upwards, why the bassline hits harder when the beat drops, why we punish the earth for what it gives us – and how some patterns are hard to break.

k.flay's cool, laconic delivery on the bass-driven electro-punk track “Things” highlights similar...