laugardagur, maí 31, 2008
Music by FM Belfast on Nintendo DS with Nitro Tracker.
A Song by Tom Waits, Text written by Bragi Valdimar Skúlason of Baggalút
Megas & Senuþjófarnir
"Visa úr Álftamýri"
"Leiðin okkar allra"
"Hljóðlega af stað" Live @ Frumleikhúsið, Keflavík
"Bréfið" Live in Sweden
"Geislinn í vatninu"
"Þú veist í hjarta þér"
föstudagur, maí 30, 2008
Shot by Stuart Rogers in an art studio adjoining Benni's rehearsal space in 105 Reykjavik. Sound editing by Ben Allen.
Return Of The Icelandic Grandfather of Rap
Dubbed the "grandfather of Icelandic rap", Sesar A – Eyjólfur B. Eyvindarson – is one of the most important figures in Icelandic hip hop. With more than two decades of work within all fields of hip hop culture he has released seminal albums such as 2001’s "The Storm in the wake of the Calm" (the first rap record entirely in Icelandic) and “Do It Yourself”, plus the first ever rap compilation entirely in Icelandic, 2002’s "Rímnamín". A few years ago the rapper and beatmaker went to live in Spain, where he teamed up with the IFS crew, an international ‘supergroup’ that boasts nine members from eight different countries, and who rap and sing in up to 10 different languages. Their first EP "Worldwide" was released in spring 2007, and some of them feature on Sesar’s confident, beat-heavy third album, “Too Good”, released this month…
You started working with your current crew, IFS, in Barcelona - what were you doing there in the first place?
I went to Barcelona primarily to study film directing, I worked for almost five years within that genre in Iceland prior to leaving. I also went to a chef school for one year.
So did you plan to ‘cook up’ an international hip hop supergroup, or did it grow organically…?
IFS was actually formed by Philsen, a rapper from Hamburg, Germany. It initially functioned as a collective of people holding freestyle sessions in his home in Barcelona. He later organized regular freestyle evenings in bars and clubs in the city, known as the “International Freestyle Sessions”. That was when I first heard of it, during spring 2004. Around that time we changed the name to the “International Family of Sound” with the intention of consolidating the group. That was when I became the recording producer who organized and made, along with Philipp, the “Worldwide” EP two years later.
This new album is your third: how does it differ from the others from your perspective? And did you write all the beats or is there input from everyone?
“Too good” is different to other IFS material in many ways. Firstly it was made in three phases over a four year period. I made a 4 song EP in 2003-4, then the IFS material from the “Worldwide” EP, which I reworked and re-arranged. Finally there were the new songs I made when I returned to Iceland last year. I worked on them for the first time with beatmakers in Iceland such as Lúlli from XXX Rottweiler, Earmax, the Yellow dragon etc. So there are a lot more people involved. The biggest difference is properly the greater variety the songs have.
How do you hold such a big group together when it comes to recording and shows etc.?
It depends on each member. Everybody has to push to keep the thing moving. If only a few individuals do that job, and eventually start doing it for the rest, the group at some point seizes to function. It’s just plain and simple teamwork. It’s a highly multi-lingual album - can that put some people off as much as it brings other people in do you think? I think it only makes it more interesting for the listener. To hear lyrics in so many languages can only open up doors in my opinion.
Are you taking the album on tour at all?
First and foremost it’s a Sesar A record, and I will be playing in Iceland but I will look for distribution abroad also. The focus will be on Iceland first and then we’ll see what happens. And are you living back in Iceland now? I went back to Reykjavík last year and I’m starting to settle here but I’ll live abroad again in the future.
How has Icelandic rap progressed or declined since you've been away?
It just gets better. We have the third generation coming up now and there is a lot of activity and a lot of people working but the scene has merged itself underground again. This happened mainly, I think, because there are very few hip hop promoters working in Iceland right now. The scene hasn’t made it’s way into the mainstream and therefore hasn’t been as accepted as other music forms in Icelandic.
What three things does the Icelandic hip hop scene need to raise its profile worldwide?
One thing is always distribution but also it’s the mentality. My new record, “Too good”, is my first step to make music for a wider audience and I think that’s an important first step towards making it abroad.
More Sesar A @
Bang Gang's "Ghosts From the Past" was released today. It's 5 years since the latest release of Bang Gang . With some help of Keren Ann, Lady and Bird companion, for the song "Don’t feel ashamed".
The 5. June Bang Gang, Keren Ann together with Sinfóníuhljómsveit Íslands perform @ Listahátið Reykjavíkur.
fimmtudagur, maí 29, 2008
miðvikudagur, maí 28, 2008
Probably banned in the USA soon 'cause to much nudity.
Update: Video already banned by YouTube !!
Update II: The Making of on YouTube @
On their MySpace you'll find this:
The music of Múgsefjun is somewhat difficult to sum up. It’s a melting pot of different genres and styles ranging from alternative country and folk to progressive rock. Those that have tried describing Múgsefjun’s music to others are usually reduced to naming other bands and musicians which kinda sound like Múgsefjun...and that’s a list that has a tendency to grow rather long.
The lineup of the band is rather unorthodox, featuring an accordion player in tandem with the more familiar combination of drums, bass and guitars. Add intricate vocal harmonies to this peculiar lineup and you’ve got a very distinct sound.
Múgsefjun was originally formed in 2004 by Hjalti Þorkelson and Björn Heiðar Jónsson, two best friends since early childhood. The name of the band came from a term often used by a teacher at their music school for describing cheap tricks to please the common undemanding listener. They undoubtedly adopted the name with a hint of irony because even though they write clever lyrics and catchy melodies, they often bury them in complex arrangements and odd time signatures.
Hjalti and Björn were soon joined by Björn’s close relative Sveinn Ingi Reynisson on the accordion and as far as they were concerned, the band was complete with Hjalti and Björn playing acoustic guitars and Hjalti singing lead vocals.
In the year 2005 they decided to change things around and add a bass player and a drummer to the band. Brynjar Páll Björnsson was drafted to play the bass. Finding a permanent drummer however proved elusive. After searching for a couple of months without any results, Björn Heiðar decided to take on the drumming duties until a replacement was found in Þorsteinn Már Jónsson. Þorsteinn then quit in the beginning of 2007 and was replaced by their current drummer, Eiríkur Fannar Torfason.
þriðjudagur, maí 27, 2008
The 62. Song of the Week is by Dr. Gunni & Friends/Vinir Hands "Ó kisa mín". A song featured on the original"Abbababb!" Album (Smekkleysa, SM76CD) with friend Heiða Eiriks aka Heiða i Unun, now Heiða i Hellvar.
"með suð í eyrum við spilum endalaust"
Sigur Rós will release their fifth lp "með suð í eyrum við spilum endalaust" June 23rd worldwide (June 24th in North America). The album will be available to pre-order on sigurros.com on June 2nd and a live stream of the album will be available on june 9th for those who have pre-ordered.
"með suð í eyrum við spilum endalaust" was co-produced with the band by renowned producer Flood, and was recorded in new york city (at sear sound studios), london (at assault and battery studios and abbey road), Reykjavík (at álafoss, the band's studio, as well as a church in Reykjavík), and Havana, Cuba.
The album title is translated into english as "with a buzz in our ears we play endlessly" with the english spelling of the Icelandic album title being "med sud i eyrum vid spilum endalaust" whereas sigur rós' last release "heima" took the band to their homeland, their newest creation is the first album in the band's career to be made outside of iceland. It is also their first album to feature vocalist jónsi's vocals in english on one track. In addition to the english, one of the album's tracks is sung without lyrics ("hopelandic") and the rest of the tracks are sung in Icelandic.
Inspired by the unfettered feeling of the acoustic performances filmed during heima, Sigur Rós decided to adopt a looser approach in the writing and creation of með suð. the material for the album was written, recorded and mixed entirely in 2008 and is being released just one month after its completion. The album glows with the perfect imperfection of live takes, the sounds of fingers playing guitar strings, cracked notes, and a stark, upfront presence not found in previous Sigur Rós recordings, moving away from reverb-soaked guitar sounds towards something altogether more affecting. the record also contains some of the most joyous music the band has ever recorded.
gobbledigook · 3:05 mins
inní mér syngur vitleysingur · 4:05 mins
góðan daginn · 5:15 mins
við spilum endalaust · 3:33 mins
festival · 9:24 mins
suð í eyrum · 4:56 mins
ára bátur · 8:57 mins
illgresi · 4:13 mins
fljótavík · 3:49 mins
straumnes · 2:01 mins
all alright · 6:21 mins
Opener "gobbledigook" sets the tone for með suð í eyrum… with its shifting acoustic guitars, playful vocals, time signature swings and swirling percussion, while "inní mér syngur vitleysingur" ("within me a lunatic sings") sparkles as one of the most anthemic songs sigur rós have ever written. "festival" is epic in its elation and scope, "illgresi" features one of jonsi"s finest vocal melodies over a lone acoustic guitar, and "ára bátur" is the largest musical undertaking in the band's career, as it was recorded live in one take with the london sinfonietta and london oratory boy"s choir, a total of 90 people playing at the same time. The band also utilised the talents of their string-quartet friends Amiina, as well as a five-piece brass section on certain tracks.
See Video @www.sigurros.com/dvd3.asp
sunnudagur, maí 25, 2008
"Dimmey" First Promo Video of the forthcoming Second Album "Stigmata"
"The boy who giggled so sweet"
"Don't let me down"
föstudagur, maí 23, 2008
fimmtudagur, maí 22, 2008
20 years on stage
Björk vs. The Matrix
miðvikudagur, maí 21, 2008
"Lög unga fólsins" (Young thug's songs), a Song of their Debut Album "Æ" (1994) on Smekkleysa Label
Lyrics "Lög Unga Fólsin"
Vakn’í skólann klukkan sjö
Hlust’á röfl um mengi og magann á beljum
Fæ mér smók með stelpunum
Hang’í sjoppunni og flétti sönnum sögum
En einn daginn komu þeir
Við sáum þá bera inn
Kók í kassavís með uppbrettar ermarnar.
Þó þeir séu tvítugir, erum við þó alveg bálskotnar í þeim.
Andaglasið sagði okkur að við skildum senda þeim þetta lag í þáttinn
Svo við settumst upp í rúm og brenndum reykelsi.
Drógum fyrir gluggana og sömdum þetta bréf.
Við sendum æðislega flippkveðjur til gæjanna
Með von um að þeir fari að taka eftir okkur
Sem allra fyrst
Með þessu lagi.
Helgin var ömurleg
Sáum Moldrok leika í Festi
En Lolla Matt og Vala Buff
Stungu af með kókgæjunum sætu
Svo nú er ég bara ein og er ógeðslega svekkt
snökti í servéttusafnið
Og sit við skattholið
Sendi ömurlegar svik og prettkveðju til Löllu Matt og Völu Buff
Með von um að þær verði undir kókbílnum og þær pipri í sykri
Sendi bæklaðar hækjukveðjur til Löllu Matt og Völu Buff
Með von um að þær verði undir kókbílnum og þær pipri í herbergi á Reykjalundi
Not as good as the Unun original, a cover by Icelandic girl power band Nylon. Compare for yourself:
"Bust" A song of the Second CD "Pinocchio", released in 1994 on the Smekkleysa Label (SM48CD)
Their First Album was "The World is Still Alive" (1993) & was not released on Smekkleysa
þriðjudagur, maí 20, 2008
Producer, mixer, composer, engineer, programmer and musician Valgeir Sigurðsson has been a part of the music scene for over a decade, working his studio magic on innovative homegrown artists like Björk and Múm and international luminaries such as Bonnie 'Prince' Billy and Howie B. He set up his Greenhouse Studios in 1997, which continue to go from strength to strength, and in 2005 started his Bedroom Community label, putting out music by himself and composers such as Nico Muhly and Ben Frost. Valgeir recently released his highly anticipated debut album Ekvílibríum and is about to embark on a European tour alongside another Bedroom Community signing, Sam Amidon.
What got you started in music – was there a spark that kicked it all off?
My older cousins turned me onto punk and new wave when I was around 9; there was no way back.
Did you want to be a musician or a producer first of all?
I didn't find out until later what a producer was, but I was set on making music professionally without knowing what or how exactly. I think that it is hard or even impossible to plan a career in music, but things developed and I found a place in the studio where I was much more comfortable than on stage. I'm just recently starting to really enjoy performing my own music live.
What specifically led you into the studio/engineering in particular?
I found a job in a tiny studio in Reykjavik when I was 16 or 17, after I went there to record some demos of my songs. I just liked it so much and started hanging out there all the time. I ended up buying the gear with borrowed money and running it as a business for some time before I sold it again and headed out to learn more about recording in London.
You’ve worked with a lot of artists over the years. Can you name a couple of the most inspiring/pleasurable and tell us why they were interesting or good to work with?
My long time working for Björk was both inspirational and educational, her outlook on the whole music industry is also very refreshing and I got to know a lot of that. I also really learned a lot from Thor Eldon, the ex-Sugarcubes guitarist. I knew him before I knew Björk – he introduced us. I can also mention many others that have been a huge inspiration, each in a different way, I’m constantly learning and drawing from these relationships, past and present. I rely on my own filters and taste, but ideally a collaboration should open your eyes and ears to new possibilities and be a learning experience.
Was Björk the first major artist you worked with in the role of producer?
Before my relationship with Björk started I had been doing studio work for years, with some Icelandic bands and with my own music etc. but I had only recently started the Greenhouse studio. To correct a common misunderstanding, I was first and foremost a programmer and an engineer when I was working with Björk. I was there to help her shape the ideas that she had and run the studio operation. She never asked me to produce with her, but she generously recognized production input from me on a few occasions. Working with her opened many doors for me but she needs to get a full credit as the producer of her work. She often works with co-producers, but choosing the right person for the job is one of her fortes.
More recently you worked with Will Oldham a.k.a. Bonnie Prince Billy; how was that experience?
I worked on his album “The Letting Go”, and it was an extreme experience by all accounts. Difficult, enjoyable, scary and greatly rewarding.
When did you set up Greenhouse and what was the key aim? Has it surpassed what you intended it to be by now?
I started it as a project studio in 1997, I figured out early on that if I wanted to master some technology and be able to use it as a creative tool I had to have unlimited access to it. It started with a very basic setup in a raw and undesigned office space, it served me well and soon I got some great projects coming through. After some time it became clear that I would need to move to a new place so I started to look around and I finally found a great space, a house that had been built as a workshop for an artist. I didn't have a lot of gear and I didn't set out to start a full commercial recording studio right away, but rather continue to develop it as a recording-workshop. The studio has now developed into what I envisioned it becoming back then and it's a place that is built to my ideas of 'the ideal music workspace' and can also function on a commercial level.
Did your Bedroom Community label grow in the same organic way?
Starting a label was an idea that I had carried around for a few years, but it started to materialize around 2005-2006. I kept coming across artists or projects that I’ve wanted to be able to develop and work with, but when there is no hope for the material to ever see the light of day it just seemed too wasteful to spend time and energy on such projects, and that’s a real shame. I had also been feeling a need to get my own music out, but I would probably be the last person to approach anyone with a label and ask him to release my music. When I had hooked up with Nico Muhly and Ben Frost there was no doubt in my mind that between the three of us there would be a solid base to build a label upon. I also know that it would be highly unlikely that any other label than my own would allow these artists to make the records that I thought they should be making.
What plans do you have for the label in the next few months?
I'm releasing a new Nico Muhly album, titled “Mothertongue” at the end of May. It's a 'big' album consisting of 3 works. Ben Frost is far down the line with his new album and I am starting to work on ideas for a new album with Sam Amidon. So we are keeping it in the family still, but some other things and projects are on the horizon too.
Your debut album “Ekvilibrium” took a while to come – is that because you were busy or just because it wasn’t the right time?
I had to find the right time and make the right time. It seemed I could not wait longer.
Was the record what you wanted it to be, or did it change dramatically from its initial premise?
It was and is exactly what I wanted. But it's not what I want the next album to be, if you know what I mean...
You’re going on tour soon – how are you feeling about that? Have you toured much in the past?
I have toured here and there in the past with some bands I played with and recorded. Never for long with my own material though, and I don't really see that happening, although I do really enjoy performing now. This tour is two weeks long and it feels really great. I look forward to being able to develop the material with the line up that I have now and seeing how that experience will translate into the next album.
Fall 2008- Reykjavik to Tallinn- Reykjavik to Helsinki
Spring 2009- Reykjavik to Berlin- Reykjavik to Warsaw
Fall 2009- Reykjavik to Rotterdam- Reykjavik to London
2010, 1 month tours- Reykjavik to Australia- Reykjavik to New Zealand
Spring 2011- Reykjavik to Stockholm- Reykjavik to Trondheim
Fall 2011- Reykjavik to Porto- Reykjavik to Madrid
2012, 1 month tours- Reykjavik to USA/Canada- Reykjavik to Mexico
As always can things change along the way.
mánudagur, maí 19, 2008
Review by Egill M. Arnarsson in Iceland Review Online
After the follow-up tour of Sigur Rós’s critically acclaimed LP Takk… (“Thanks…”), released in 2005, the band returned to Iceland to play a series of free, unannounced concerts in 16 remote places around the country.
By doing this the band was giving something back to the local community from which they have always had unlimited support. This documentary was filmed in 16 locations in Iceland where Sigur Rós, along with string quartet Amiina, played songs from all four of their albums in some of Iceland’s most beautiful and mystical places.
The name of the documentary Heima means “At Home” and refers to how relieved the members of the band were to be back in Iceland, a safe haven for them. Here they are left alone and all the commotion of touring from one big city to another is only a distant memory.
Because of these concerts, innumerable Icelanders will never forget the summer of 2006.
There is no way any other Icelandic band could have pulled this off. Sigur Rós’s music is a tribute to Icelandic nature and therefore it makes perfect sense to perform it outside in the sometimes overly romanticized landscape in Iceland’s countryside.
Most domestic tours by Icelandic bands involve heavy drinking of stupid teenagers, disposable tents, silly fights and jumping up and down to music which often is irrelevant; the concert is just an excuse to get drunk.
This could not be further from the truth with Heima. It is odd and unexpected to se all the members of the family enjoying music over a cup of tea and biscuits in their small local community center, having driven there on their 4x4 that same afternoon. Even newborns gazed up on stage and kids stood still in awe. Each show elegantly contrasts with its location from a ghost town fish factory to the crowded Klambratún in Reykjavík.
Every moment of the tour was captured by amazing cinematography portraying the different moods of every concert. Stunning shots of Icelandic nature were elegantly intertwined with shots of the band playing on stage, in nature or in other beautiful locations such as caves and on the steps of a small church. Combined with soft colors and smooth editing accurately following the pace of the music, the entire documentary is mesmerizing.
Icelandic cinematographers could learn a thing or two from this documentary because never before has Icelandic nature looked so good in a motion picture. This was to be expected because Sigur Rós’s videos have always been stunning and true to Icelandic nature and culture.
The documentary also features bits of interviews with Sigur Rós and Amiina. With cute Icelandic accents members of both bands explain how they feel when playing together and then describe their favorite locations.
A member of Amiina speaks of the magical moment when the wind calmed down exactly when they started to play an acoustic show at Kárahnjúkar in the eastern highlands (where Iceland’s largest dam is located). As soon as they finished the wind weirdly began to blow again.
It was also fun to see how the local communities made contributions to the concerts, including the brass band of Ísafjördur, a small choir from in the East Fjords and a man who spends all of his time making instruments out of flat rocks and rhubarb plants.
If one wants to learn about the soul of the Icelandic countryside, Heima is a definite must-see (and of course the same goes for any film and music lover as well).
Every moment of Heima is filled with warmth and Sigur Rós’s love for Iceland. Even though it is directed by Canadian Dean DeBlois (Lilo & Stitch (2002)) it sheds a true light on the few people who still choose to live in small towns and villages across Iceland without any discrimination at all.
As always, Sigur Rós’s music comes in a brilliant package, although the power of their heavier songs does not quite deliver.
Sigur Rós’s selfless stunt of free outdoor concert series will be remembered as some of the most appreciated Icelandic shows of all time.
Egill M. Arnarsson is a multimedia designer from The School of Multimedia in Reykjavík. He graduated with distinction from the Fine Arts Department of the Vocational School in Akureyri (VMA) in 2004 and in 2005, he studied Film and Television at the University of Wales. He is an amateur filmmaker and graphic designer.
sunnudagur, maí 18, 2008
More múm @ http://www.mum.is/
"Motorcrash" à la Babar
Approximately 100 bands will perform during the festival, according to the Iceland Music Export (IMX) newsletter.
Both “post metallers” Celestine and “eclectic sonic wunderkinds” Hjaltalín have received considerable attention in Iceland and are now preparing to take on the rest of the world.
Also Hafdis Huld appears on the Program !!!
More about the festival @ www.spotfestival.dk
Some people say there's nearly nothing of yourself at your blog - only copy and paste. But my selection makes my blog unique.
I try to post the videos and photographs I made @ gigs of Icelandic artists on the internet on various sources (MySpace TV, YouTube, slide.com) and this blog of course.
For more unique stuff I'm going to post some artwork I hope to make in the future of Icelandic musicians/bands.
@ the end of 2007 I was thinking to post regularly a Black & White drawning of an Icelandic musician or a band à la Poppbókin, í fyrsta sæti written by Jens Kr. Guðmundsson , a book that contains drawnings by Jens himself & Sigurður Valur Sigurðsson. This book was published in 1983 by Aeskan. This booklet focused on bands from the 60s, 70s and early 80s. I'll focus on the 80s, 90s until present.
In the past I made some paintings & drawnings of The Sugarcubes, Björk and Unun. Like this ones:
First one is of a young singer Bryndís Jakobsdóttir aka Dísa who released her Debut Album this week:
Artwork #1: Dísa (Bryndís) (12 x 12 cm)
Release by Icelandic Label Cod Music is planned for 23. June 2008.
Earlier there will be a rather unique Concert with French singer-songwriter Keren Ann, as a duo with Barði "Lady and Bird", and also with support of the Icelandic Symphony Orchestra 5. June 2008 @ Háskólabíó (University Cinema), Reykjavik. www.banggang.net
Overview of the Icelandic Songs of the Week @ I love Icelandic Music
Established 18. March 2007
Ensími Slow return
Ampop Sail to the moon
Eberg Plastic lions
Hellvar Electric toy
Pétur Ben White tiger
Jeff Who? Death before disco
Bogomil Font & Flís Eat your car
Bang Gang It’s alright
Ólöf Arnalds Í nýju húsi
Þór Eldon & Dagur Sigurðarson Daudaskammtur
Benni Hemm Hemm Snjór Ljós Snjór
Kimono Japanese Policemen
Lada Sport Tango in the valley of death
Steindór Andersen & Sigur Rós Fjöll í Austri Fagurblá
Hafdís Huld Ski jumper
The Way Down Bring me the sun
Jan Mayen We just want to get everybody high
Retro Stefson Medallion
Emiliana Torrini Gollum’s Song
Hudson Wayne Coffee
Fræbbblarnir Ó Fræbbblar vors lands
Worm is Green Love will tear us apart
Mr Silla & Mongoose Ten foot bear
Elíza Empire Fall
Bloodgroup Moving like a tiger
Motion Boys Hold me closer to your heart
Ólafur Arnalds Himininn er að hrynja en störnurnar fara Þér vel
Jóhann G. Jóhannsson Kjötsúpa
Stafrænn Hákon & Unstatuesque Merry Christmas Mr. Lawrence
Sometime Heart of spades
UMTBS Story of a star
Sprengjuhöllin Worry til spring
Védis A beautiful life
Dr. Gunni Helvitis gráðugu fífl
Purrkur Pillnikk Óvænt
Þeyr Killer boogie
FM Belfast Synthia
Sudden Weather Change Kill goretrout
The Sugarcubes Dancing Queen (demo)
Björk Wanderlust (Ratatat Remix)
Kenya This is real
Who Knew Sharpen the knife
Our lives The audience part 2
Blindfold Don’t think it’s a sin
Half an hour with Haukur of Reykjavik! & Grapevine Magazine as a host, Einar Örn of Ghostigital & Smekkleysa, Lay Low Live @12 Tonar Shop, múm 's Gunnar & Orvar, Rökkurró @ home, Sindri of Seabear, Valgeir Sigurdsson & Ben Frost of Bedroom Community, Olafur Arnalds
Thx to Jen goes Digital for digging this up. Jenifer, you're becoming a reporter of this blog. You've got the t-shirt already ...
More @ www.nrk.no/lydverket
laugardagur, maí 17, 2008
"Mugiboogie" Live on stage before Queens of the Stone Age
1. Herbergi 3:23
2. Stundum Veit Eg Ekki Alveg Hvar Eg Er 7:12
3. Vonlaus Baratta Um Gledina 3:48
4. Kaninuoen 3:51
5. Pluto 2:13
6. Alladin 3:15
7. Leyniskyttublus 12:12
Running Time 35:54
Örvar Þóreyjarson (vocals, guitar), Gunnar Örn Tynes (bass), Guðfinna Mjöll Magnúsdóttir (keyboards), Eyþór (guitar) & Númi Thomason (drums).
Available @ Smekkleysa online: www.smekkleysa.net
Source / Inspired by post by Magnus @ www.indie-mp3.co.uk
"Meira Frelsi" Video
Live @ Kastljós
föstudagur, maí 16, 2008
The singer got help on this album of Sam Frank, Barði Jóhannsson and singer Shelly for the song "Temptation". Dr. Gunni compares it on his blog with The Cardigans (http://this.is/drgunni).
Óli is very active these days. Touring around the globe and releasing his songs.
"The Postrock Song"
Release Party "Variations of Static" @ Idno, Reykjavik 18. May 2008
fimmtudagur, maí 15, 2008
Steintryggur, Lay Low, Ghostigital, Helmus & Dalli, Stilluppsteypa
Noordelijke wansmaak / Nordic Bad Taste
Paleis voor Schone Kunsten, Brussel - 30 april 2008
A short English abstract of this Review of Tom Weyn by Wim Van Hooste
The evening in one word: absurd. Typical about this night: sometimes one could laugh. It is not all serious in Iceland, unlike the most famous Icelandic music that is known abroad.
Highlight of the performance of Stilluppsteypa was the hair combing of a member of the duo.
The performance of Helmus & Dalli, a trio made of a screamer, a guitarist and a DJ, was so bad, that is was good in its own way.
Ghostigital gig was barely "music": a beat with too much noisy electronics by Ben Frost & the chaotic screaming of Einar Örn.
Lay Low was the healer with her naked songs.
Steintryggur performance was good, the only group with a "familiar Icelandic sound".
Tom Weyn went home with mixed emotions: this evening smashed his idyllic image of the country and her music.
Op deze vijfde avond van Iceland Airwaves stonden geen gevestigde waarden op het programma. Het werd een gevarieerde ontdekkingsreis en deze keer niet enkel doorheen de muziek waarvoor Einar Örn Benediktsson (The Sugarcubes) verantwoordelijk was. Benediktsson werd namelijk bijgestaan door Sjón, die het literaire gedeelte voor zijn rekening nam. Maar ook daarmee was de kous nog niet af: performances, video en kunst, we vonden het allemaal terug in de Bozar. De avond samenvatten in één woord is nochtans gemakkelijk: absurd.
Het begon al toen we door de gangen van de Bozar liepen: een dolgedraaide IJslander op rollerskates reed luid brullend van de ene kant naar de andere kant. Want ook dit typeerde deze avond: er mocht al eens gelachen worden. Het gaat er daar in het hoge Noorden heus niet altijd zo serieus aan toe als de bekendste muziek uit het land doet uitschijnen. Ook tijdens het literaire gedeelte konden we een lach niet onderdrukken wanneer we bijvoorbeeld Örvar Smárason of Eirikur Örn Nordahl aan het werk zagen. En dan hebben we het nog niet over het bevreemdende rapintermezzo van Byrkir. Dat zowat alles zich in het IJslands afspeelde, zal daar ongetwijfeld voor een groot stuk mee te maken gehad hebben.
Over naar de muziek dan. De eerste groep die we te zien kregen, was Stilluppsteypa, al leek het concept ‘optreden’ dit duo ietwat vreemd. Geen instrumenten, enkel elektronica en met hun droomachtige soundscapes moesten we dan ook gauw denken aan Four Tet. Jammergenoeg kwam het allemaal nogal makkelijk over - het was lang geleden dat we nog eens gedacht hebben dat we het zelf even goed zouden kunnen - en was het optreden zo saai dat we het kammen van het haar van een van beide heren als hoogtepunt noteerden.
Wat daarna volgde, tartte alle verbeelding. Helmus & Dalli had zich in walgelijke verkleedkostuums gehesen en bestond uit een zanger/bruller, een gitarist en een DJ. Af en toe werd iemand anders het podium opgesleurd om wat mee te zingen, brullen of dansen en het geheel was zo slecht dat het weer goed werd. Gedurende een half uurtje hoorden we dan ook alle mogelijke muziekgenres passeren. Duidelijk werd echter wel dat de show hier prioritair was en de muziek naar de tweede plaats geschoven werd.
Net wanneer we dachten dat het ergste nu wel achter de rug was, beklom Ghostigital het podium. Wat we hoorden was bezwaarlijk muziek te noemen. Hier en daar hoorden we nog een behoorlijke beat, maar het merendeel van de “nummers” werd verziekt door de ruizige laag die elektronica-adept Ben Frost er overheen goot en vooral door het chaotische en geïmproviseerde geschreeuw van onze gastheer Einar Örn. Deze drie kwartier doorkomen, was dan ook een bijzonder zware opdracht.
Gelukkig was er Lay Low die onze ziel en vooral oren wat wist te helen. Lay Low is de 24-jarige Lovisa Elisabet en is in haar thuisland ontzettend populair met haar naakte blues- en folknummers. De jonge IJslandse beschikt over een uitzonderlijk paar stembanden en houdt daarmee het midden tussen Feist, Joanna Newsom en Carla Bruni. Solo op akoestische gitaar bracht ze op het eerste gehoor eenvoudige Engelstalige liefdesliedjes. Opvallend was dat nummers als Please Don’t Hate Me onmiddellijk vertrouwd in de oren klonken. Een ontdekking.
Ook het aparte gezelschap van Steintryggur wist veel goed te maken. Met enkel percussie, elektronica en enkele bevreemdende geluidjes als instrumentarium kwam het gezelschap heel vernieuwend en beklijvend uit de hoek. Steintryggur was bovendien de enige groep van de avond die aansluit bij de IJslandse muziek die we het best kennen. Samen met Lay Low was het bovendien de enige groep die zichzelf serieus leek te nemen, wat we een aangename verwelkoming vonden na zoveel absurditeit. Zonder meer het hoogtepunt van de avond.
We hadden niet verwacht dat we ‘An Edgy Evening of Bad Taste’ zo letterlijk mochten nemen. Er werd werkelijk alles aan gedaan om ons te laten kennismaken met de “slechte” dingen uit het haast mythische land. En dus gingen we met een gemengd gevoel naar huis. Wat moet een mens dan ook denken wanneer het idyllische beeld dat hij van een land en haar muziek had, op één avond aan diggelen geslagen wordt?
miðvikudagur, maí 14, 2008
featuring Ólafur Arnalds, Siggi Pönk, Lilja of Bloodgroup, Rebekka Kolbeinsdottir of Merzedes Club, Vera Sölvadottir of BB&Blake, DJ Platurn about From Oakland to Iceland - A Hip-Hop Homecoming, video review of Bloodgroup "Hips Again", Eurobandid "This is my life" & Merzedes Club "Meira Frelsi", XXX Rottweiler Hundar about "Reykjavik Beirut", Jet Black Joe goes Gospel, Pönk og Disko in Theatre, and more of course.
Check it @ www.monitor.is/pdf/Monitor-8tbl-Web.pdf
or the website @ www.monitor.is
þriðjudagur, maí 13, 2008
Tour Program of múm in August:
Fri 1. Ireland, County Roscommon, Mantua Lives
Sat 2. UK, Manchester, a Day at the Races
Sun 3. UK, Eastnor Castle Deer Park, The Big Chill
Sat 9. Estonia, Leigo Lake Festival
Fri 15. Finland, Helsinki Festival
Also on Tour in Iceland:
14. May Höfn - Pakkhúsið 21.00
15. May Húsavik - Gamli Baukur 21.30
16. May Akureyri - Græni Hatturinn 22.00
17. May Isafjörður - Edinborgarhúsið 22.00
18. May Stykkishólmur - Vatnasafnið 20.00
mánudagur, maí 12, 2008
No Program yet
Thursday, 2. October 2008
Zodiak - Center for New Dance
Erna Omarsdottir & Lieven Dousselaere
Margret Sara Gudjonsdottir & Knut Berger
Friday, 3. October 2008
Saturday, 4. October 2008
sunnudagur, maí 11, 2008
Thursday June the 5th 19:30 @ Háskólabíó
Barði Jóhannsson (Bang Gang) and Keren Ann Zeidel perform with the Iceland Symphony Orchestra.
The programme covers their respective careers in new symphonic arrangements. They will also play together as the dynamic duo Lady and Bird.
French TGV Commercial featuring Lady and Bird music
Bang Gang "Find what you get" Video
More Bang Gang @ www.banggang.net
and Barði Jóhannsson @ www.bardijohannsson.com
The Eistnaflug Festival Line-up 10.-13. July 2008
Grýttir á Sviði
Swords of Chaos
Sudden Weather Change
Ask the slave
Mammút @ Gaukurinn @ Airwaves 2007 Videos