J.E. Useless was a rock band based in Copenhagen.

Danish article about J.E. Useless from the blog Passive/Aggressive, translated to english:

“Julius Ernst and Anton Funck has previously made themselves known on the Danish music scene through their parts in the defunct Ocean View (RIP), who originally came from the prominent record label Big Oil Company. Fortunately, every end is the beginning of something new, which is also very much the case for Ernst and Funck. In the wake of Ocean view’s end they come together not only on a new project, J.E. Useless, but have also started a new record label named Mythomania Collection. It is thus also here that Ernst and Funck this month is publishing their upcoming debut as J.E. Useless, as part of a creative process, which they this time have complete control over.

While from time to time I might have been of the opinion that Ocean views tracks sounded more like a style exercise in a specific genre, rather than a liberated expression in rock music, this is not the case of the J.E. Useless debut release, Three Stages of Creative Death, which appears both playful and purposeful in its expression. The common thread consists of the devil dystopia being made about the records six tracks, and represents a perfect balance between an alluring twilight and an uplifting melodiousness. It verifiable expression in Ocean views songwriting is in J.E. Useless increasingly been neglected in favor of unlikely digression and a certain spontaneity which takes Three Stages of Creative Death just one step further than the general flow of post-punk rock releases the Danish music scene has produced in recent years.

It is remarkable how Ernst and Funck succeeds to release the essence of music from its rein, as if it were a wild internal chaos; a chaos that despite the music’s formative digress, has a nature of a driver who nevertheless are under full control, but still sparkles clear in both songs guitar figures and either cement-heavy or unruly vocals.

Info: “Three Stages of Creative Death” is mastered by Peter Peter and published d. Nov. 30 via Mythomania Collection in an edition of 250 copies.”

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