Saturday, January 31, 2009
Five years on... Looking back @ the Icelandic music scene (Grapevine Magazine 2008)
The author of the best book in English on Icelandic music, Paul Sullivan, wrote a note about the music scene in Iceland since he published his book "Waking up in Iceland" 5 years ago.
Five years on... Looking back at the Icelandic music scene
Reykjavik Grapevine 11. November 2008
By Paul Sullivan
As Van “The Man” Morrison once sagely noted: “Music is spiritual; the music industry is not”. We all know which side of the fence Icelandic music falls on (usually drunkenly), but last month in Reykjavik we’ve had both sides of the story. While Iceland Airwaves let loose its usual sonic juju, a music conference called You Are In Control took care of what we might call ‘the business end’.
But let’s rewind. Five years ago I published “Waking Up In Iceland,” a book that set out to explore Iceland’s unique and remarkable music scene. Back then it was all about bands like Trabant and Quarashi, Singapore Sling and The Leaves. Thule was the name of a record label (as well as a beer) and “Esja” was just a mountain, and not a musical project.
Trawling around Airwaves last month, devouring the dynamic and contrastive range of sounds - the roaring immensity of Reykjavík! vs. the feelgood post-disco of FM Belfast; the avant bricolage of Ghostigital vs. the soaring beauty of Ólafur Arnalds; the joyful noise of Hjaltalin and Retro Stefson, to name but a few – it occurred to me that the scene has totally remixed itself.
While the scene’s Old Masters are still around – Björk, Sigur Rós and múm are all still busy maintaining their heavyweight titles, buoyed by the inexorable rise of established acts like Mugison, Jóhann Jóhannson and Emiliana Torrini – many of the Class of ‘03 are now gone.
In their place is a new breed that adds greatly to the scene’s already famed diversity. They’re more confident, yet more insouciant too. Bands seem to be enjoying themselves more these days (a bit of a global trend perhaps) and a lot of the performances, from the in-yer-face antics of Ultra-Mega-Technoband-Stefán and Reykjavík! to the jaunty collectivism of Benni Hemm Hemm, FM Belfast and Retro-Stefson – are electrifying.
Folk have been getting their shit together on a business tip too. The uncompromising DIY ethic that the scene was built on still runs through it, but artists seem to enjoy further reach thanks to the internet and its myriad resources. More acts seem to be getting out on the road, hooking up deals and using the social-networking realm to promote themselves.
Five years ago there was talk of getting more funding for the music industry and perhaps professionalizing it – that also finally seems to be happening. The Kraumur Music Fund aims “to strengthen Icelandic musical life, primarily by supporting young musicians in performing and presenting their works…by providing direct grants, professional assistance and various forms of cooperation.” So far, Mugison, amiina, FM Belfast, Skakkamanage and Ólöf Arnalds – a fine and deserving selection by anyone’s standards - have been awarded handouts and hopefully more will benefit later this year.
In terms of promotion – often a sticking point for Icelandic bands - the scene has grown an ‘official’ mouthpiece in the shape of the Icelandic Music Export office (IMX for short), a “one-stop shop” for info on Icelandic music that I was happily recruited to edit and provide content for in 2007. In the space of a year we’ve managed to build a useful two-way portal between Icelandic music, it’s fans and interested professionals, where bands can upload profiles, songs, videos and contact info for free.
It was IMX that organised the two-day conference You Are In Control, held prior to Airwaves at the Saga Hotel, which brought together an international assembly of industry moguls, keynote speakers and local musicians in Reykjavik.
So yeah, things are moving. Yet the heart of the scene remains the same, still driven by the same dynamics: a need for competition and collaboration, for creative expression and experimentation, for external recognition; to believe in the spirituality of music. Oh yes - and the need to throw really fucking great parties and make some of the greatest music in the world for no reason other than…it’s fun.
Some things, hopefully, will never change.
Source:
www.grapevine.is
Five years on... Looking back at the Icelandic music scene
Reykjavik Grapevine 11. November 2008
By Paul Sullivan
As Van “The Man” Morrison once sagely noted: “Music is spiritual; the music industry is not”. We all know which side of the fence Icelandic music falls on (usually drunkenly), but last month in Reykjavik we’ve had both sides of the story. While Iceland Airwaves let loose its usual sonic juju, a music conference called You Are In Control took care of what we might call ‘the business end’.
But let’s rewind. Five years ago I published “Waking Up In Iceland,” a book that set out to explore Iceland’s unique and remarkable music scene. Back then it was all about bands like Trabant and Quarashi, Singapore Sling and The Leaves. Thule was the name of a record label (as well as a beer) and “Esja” was just a mountain, and not a musical project.
Trawling around Airwaves last month, devouring the dynamic and contrastive range of sounds - the roaring immensity of Reykjavík! vs. the feelgood post-disco of FM Belfast; the avant bricolage of Ghostigital vs. the soaring beauty of Ólafur Arnalds; the joyful noise of Hjaltalin and Retro Stefson, to name but a few – it occurred to me that the scene has totally remixed itself.
While the scene’s Old Masters are still around – Björk, Sigur Rós and múm are all still busy maintaining their heavyweight titles, buoyed by the inexorable rise of established acts like Mugison, Jóhann Jóhannson and Emiliana Torrini – many of the Class of ‘03 are now gone.
In their place is a new breed that adds greatly to the scene’s already famed diversity. They’re more confident, yet more insouciant too. Bands seem to be enjoying themselves more these days (a bit of a global trend perhaps) and a lot of the performances, from the in-yer-face antics of Ultra-Mega-Technoband-Stefán and Reykjavík! to the jaunty collectivism of Benni Hemm Hemm, FM Belfast and Retro-Stefson – are electrifying.
Folk have been getting their shit together on a business tip too. The uncompromising DIY ethic that the scene was built on still runs through it, but artists seem to enjoy further reach thanks to the internet and its myriad resources. More acts seem to be getting out on the road, hooking up deals and using the social-networking realm to promote themselves.
Five years ago there was talk of getting more funding for the music industry and perhaps professionalizing it – that also finally seems to be happening. The Kraumur Music Fund aims “to strengthen Icelandic musical life, primarily by supporting young musicians in performing and presenting their works…by providing direct grants, professional assistance and various forms of cooperation.” So far, Mugison, amiina, FM Belfast, Skakkamanage and Ólöf Arnalds – a fine and deserving selection by anyone’s standards - have been awarded handouts and hopefully more will benefit later this year.
In terms of promotion – often a sticking point for Icelandic bands - the scene has grown an ‘official’ mouthpiece in the shape of the Icelandic Music Export office (IMX for short), a “one-stop shop” for info on Icelandic music that I was happily recruited to edit and provide content for in 2007. In the space of a year we’ve managed to build a useful two-way portal between Icelandic music, it’s fans and interested professionals, where bands can upload profiles, songs, videos and contact info for free.
It was IMX that organised the two-day conference You Are In Control, held prior to Airwaves at the Saga Hotel, which brought together an international assembly of industry moguls, keynote speakers and local musicians in Reykjavik.
So yeah, things are moving. Yet the heart of the scene remains the same, still driven by the same dynamics: a need for competition and collaboration, for creative expression and experimentation, for external recognition; to believe in the spirituality of music. Oh yes - and the need to throw really fucking great parties and make some of the greatest music in the world for no reason other than…it’s fun.
Some things, hopefully, will never change.
Source:
www.grapevine.is
Hafdis Huld is working hard on her 2nd Album
Recently Hafdis Huld recorded some songs for her second Album in an extremely cold living room @ a farm house.
Source: MySpace www.myspace.com/hafdishuld
An Album to be released in 2009?
www.hafdishuld.com
A song of her Debut Album "Dirty Paper Cup" (2006):
"Who loves the sun"
www.youtube.com/v/k4x86ApQCZY&hl&fmt=18
Source: MySpace www.myspace.com/hafdishuld
An Album to be released in 2009?
www.hafdishuld.com
A song of her Debut Album "Dirty Paper Cup" (2006):
"Who loves the sun"
www.youtube.com/v/k4x86ApQCZY&hl&fmt=18
Sigur Rós: The Independent Interview (January 2009)
Sigur Rós:
Why we're mesmerised by the hypnotic Icelandic band
The Independent
30. January 2009
Sigur Rós's glacial soundscapes are all over British television and tomorrow The Independent is giving readers an exclusive collection of their best tracks. Andy Gill examines their soaring popularity and explains why he is mesmerised by the hypnotic Icelandic band.
Each week, along with the basic album and singles sales charts, there are myriad other charts published that track the diverse fortunes of the music industry, including those for the various major download sites, and the number of radio plays each track has secured. The one thing that isn't measured, however, may be the most influential of all: the prominence a piece of music achieves on that most powerful of all media, television.
Television is important in a way that the other charts, by their very nature, ignore: less concerned with immediacy, it can afford to ignore the rapidly changing tastes of a fickle industry like music, but employ the same piece of music over and over again, establishing it as the musical livery of a programme or strand, and confirming it as one of the emblematic musical signatures of its era. For the last year or two, it's been Sigur Rós's heavenly "Hoppípolla" that can't be avoided.
You've all heard it hundreds of times: that tentative piano figure cycling around and around, seeming to climb up and up expectantly like an MC Escher belvedere, until it finally reaches some emotional tipping-point and brims over, cascading in soul-lifting waves of fulfilment as strings and brass crowd round to hymn along.
It's become utterly ubiquitous since its release in 2005, as directors discovered how perfectly it seemed to suit all manner of situations, from baby whales being reunited with mommy whales on nature programmes, to some clueless pleb finally mastering a meaningless task on any of a hundred bogus reality-TV shows. Look! She's managed to run that half-marathon! Cue "Hoppípolla". See! The courting swans entwine their necks! Cue "Hoppípolla". Wow! He's not just conquered his fear of flying, he's enduring barrel-rolls! Cue "Hoppípolla". Gasp! It's the winning goal, in slow motion! Cue "Hoppípolla". And so on.
By last year, it was almost possible to channel-hop randomly and never hear anything else. It was even used in an episode of Doctor Who, and more recently in trailers for Slumdog Millionaire. And Oxfam adverts. And The X Factor, the audio equivalent of sleeping with the enemy. Small wonder that when Sigur Rós were recording it, they gave it the nickname "The Money Song" – they immediately gauged its appeal – before settling on "Hoppípolla" (Icelandic for "jumping in puddles").
You can hear why it's so popular among programme-makers. Because Jónsi Birgisson is singing in his native language, it's not stained by lyrical associations, while it fulfils our current yearning for aspirational sonic euphoria. It's like Coldplay minus the simpering-twatness, Radiohead minus the bitter curmudgeonly aftertaste, U2 minus the overweening egotism. It's the perfect musical soundtrack, it seems, for a UK blinded by vague empathy as it hurtles towards bankruptcy.
But it's not, Birgisson claims, as ubiquitous on Icelandic telly as it is here. "No, that's definitely a British thing," he says. "Everything dramatic and 'Hallelujah', every dramatic ending – cue it up!" (I'm not sure, in retrospect, whether he's referring to that "Hallelujah" or is using the word as an emotional analogue and has, spookily, simply stumbled across TV's new-found replacement for "Hoppípolla".)
"Hoppípolla" thrust Sigur Rós on to an entirely new plane of fame and fortune. The album from which it was taken, Takk..., was their fourth full-length outing, its predecessors having appealed predominantly to a refined art-rock constituency. Their debut album Von, for instance, sold a grand total of 313 copies in Iceland when first released in 1997, only accruing popularity when it was reissued in the wake of subsequent successes with 1999's Agætis byrjun and 2002's (). Since then, they have earned vast sums from their art, a position ironically exaggerated by the recent financial upheavals in Iceland. "Because we get our salaries and stuff from England, and the krone to the English pound has just doubled, it is actually good for us personally," explains Birgisson, with slight embarrassment. "But for the people around us, it is not good."
() still represents perhaps the furthest extremity of aesthetic insularity in pop music. Besides having no title as such (it's usually referred to as "Brackets" or "Parentheses"), and a largely white, albeit elaborate, packaging, its eight tracks lacked titles, and even the songs, sung by Birgisson in the distinctive fallen-choirboy falsetto that has enchanted millions, were written in the band's made-up language of Hopelandic, a meaningless succesion of phonemes that seems as though it ought to mean something, but doesn't. Did meaning matter much to them?
"I think if you want to have lyrics, then meaning has to matter," Birgisson says. "But yes, we have this kind of love-hate relationship with lyrics, because music flows so naturally for us, and when you come to write lyrics you have to put yourself in a different space. We usually start by singing some nonsense over the songs, then I listen to that, and usually, within that gobbledigook, there is often some spark of meaning – so you take out one word and start from there, and find out what the song should be about."
Intriguingly, the band's most recent album, last year's Med sud í eyrum vid spilum endalaust ("With a buzz in our ears we play endlessly"), even contained a track entitled "Gobbledigook" – which with typical perversity made perfect sense in translation, being an ode to the "hair-stroking, hem-blowing prankster-boy" wind ("You make hats fly into the air, you turn umbrellas inside out too often", etc). According to Birgisson, it was inspired by the Eurovision Song Contest, a claim that beggars belief given Sigur Rós's reputation for creating "cathedrals of sound". Surely Eurovision represents the diametric opposite of all they stand for?
"That was two years ago, when we were writing the songs for ...endalaust," he explains. "We had rented a big farm out in the country, and the Eurovision Song Contest was on television one night, so we watched that. The whole competition, all the way through. Then, after the contest, we just picked up instruments straight away and started playing, and this song came out. I don't know where it came from. It's such a crazy contest – it's crazy that you can actually have a contest about music – and it has such amazingly bad 'good' songs!"
By their own standards, "Gobbledigook" was a bizarre song, its stomping beat, static structure and light-heartedness operating at a sharp tangent to the slow, steadily developed sense of anthemic yearning for which they had become celebrated. If one were to assemble all the reviews and features written about Sigur Rós, the adjective used most often would probably be "glacial", and the critical stratagem most frequently employed would discuss their music in terms of the imposing Icelandic landscape – lazy clichés, of which the band themselves have become thoroughly sick and tired.
So how would they themselves describe their music? "I think the words that come to my mind are, like, 'organic', maybe," Birgisson eventually concedes. "There's something quite natural about it, and we think a lot about soundscapes when we are doing it. Basically, when you strip everything away from the music, at its quietest it's normal pop songs; but it's the way that you produce it that puts the meat on the bones of what you do. But it's always hard for us to describe how we sound."
Most bands, if pressed, will make similar claims on inexplicability, but in Sigur Rós's case there's more justification than most, their music being less permeable to descriptive, physical comparisons than abstract, emotional comparisons. And even then, they seem to have the gift of finding the gaps between emotions, sometimes leaving the listener adrift on a sea of conflicting moods and vague yearnings. In terms of instrumentation, however, they have shifted more towards using acoustic sources than electronic ones, particularly on ...endalaust. This, it transpires, was more a matter of convenience when they found themselves in unfamiliar surroundings.
"When we rented the farm in Iceland, we started out using mainly acoustic instruments, and it just developed from there," explains Birgisson. "But the basic structure of most of the songs is just acoustic, that is always our starting point."
Do you have a favourite sound?
"My favourite sound, ever?"
Yes, a sound source, such as marimba, piano or violin...
"Definitely," he decides, "it would be something like wind in trees, a nature sound of some sort. But as regards instruments, I like piano, celesta... there are so many beautiful-sounding V C instruments around. It depends how you play them."
This observation leads into a discussion about Washington Phillips, a gospel singer and songwriter from the Twenties, of whom we are both fans. Like Robert Johnson, Phillips recorded only a handful of songs (16 in total) but he accompanied himself on a mysterious instrument – either a dulceola, dolceola, celestaphone, phonoharp or fretless zither – related to the hammer-dulcimer. But, as with Johnson, the lack of documentary evidence and the unique sound of Phillips's instrument have provoked feverish debate among enthusiasts ever since.
"Is it a dulcimer?" queries Birgisson. "But it seems like he's strumming it! It sounds amazing, like some form of harp-guitar." His fascination with Phillips makes obvious sense, both musicians' work exhibiting a haunting blend of certitude and vulnerability – what might best be called a fragile majesty, especially when the band's sound is swelled by the addition of the Amiina string quartet, or the subtle lowing of horns which, on ...endalaust, relates more to the British brass-band tradition than the American R&B tradition. This may or may not have something to do with their collaboration on that album with the British producer Mike "Flood" Ellis, best known for his work with indie and goth acts such as Nick Cave, Nine Inch Nails, U2 and The Killers."We had never worked with a producer before, and it was a good learning experience for us," Birgisson says. "Before, it was always just the four of us together, doing everything for ourselves. When he first came, it was a weird situation, because he has his own way of working, and we have ours. He is so focused, and such a hard worker. He became like a father figure to ...endalaust: he was always there, from 10 in the morning to 10 in the evening. When you have your own studio, like we do, and no pressures of time, it's easy to just have a coffee and decide to do it tomorrow! That had been happening quite a lot with us. And it was good for us to go to other studios: we recorded the basic tracks in New York, and basically, you're just locked in a room all the time. It was fun, though."
Their tentative outreach programme for ...endalaust did encounter one stumbling block, however, when they decided to commission the Berlin-based artist Olafur Eliasson, who created the Sun installation in the Tate Modern turbine hall, to do the album artwork, an alliance that didn't work out as well as hoped.
"We had long talks with him and met a couple of times to discuss ideas with him, but basically it just didn't work out," Birgisson says. "We had just totally different characters in our working methods – he is so methodical and mathematical, so well-thought-out and correct, and has definite meaning, and we are so spontaneous and rough, and everything we do has a huge amount of soul, but no meaning."
Instead, they opted to use a picture by the photographer Ryan McGinley of naked youths running across a road, which the band felt captured their spontaneous quality. Even that caused problems in America, where bare buttocks – at least those not belonging to porn stars – seem to offend the sensibilities.
"That was so weird!" recalls Birgisson. "When we played in America, we would arrive at venues and there would be posters outside advertising the gig, and they would be blacked out! And the CD would have stickers put over the asses! Why should they be embarrassed by naked bodies? There's nothing offensive about it. Look at rap album covers and you see, say, 50 Cent, and he's posing with guns and stuff, flexing his muscles – what a role model! That should be censored, surely? It's crazy! But hopefully, times are changing."
Oddly, for such a guileless, reserved band, Sigur Rós now seem to be the favourite band of every A-list celebrity, from tattooed rocker Tommy Lee of Mötley Crüe, who appears to use them as some form of meditative chill-out refuge from his racy lifestyle, to megastar Brad Pitt. More queasily, the band's music was apparently playing when Gwyneth Paltrow produced her little Apple. It all seems a million miles away from their lives in Iceland, as Birgisson confirms.
"It's nothing to do with us," he says. "We just live our normal lives in our small Reykjavik, we have our own apartments, our own families and kids, and our fame doesn't affect us at all, I think. We never think about it, we never talk about it, and we don't make a big thing out of it – we don't play the media game, stuff like that. We just like to be able to walk down the street and go to a coffee-house, things like that."
Source: The Independent
www.independent.co.uk/arts-entertainment/music/features/sigur-r243s-why-were-mesmerised-by-the-hypnotic-icelandic-band-1519898.html
Tracklist of the Free CD "We play endlessly"
1 - Hoppípolla
2 - Inní mér syngur vitleysingur
3 - Saeglópur
4 - Gobbledigook
5 - Í Gær
6 - Fljótavík
7 - Hafsól
8 - Heysátan
9 - Ti Ki
Why we're mesmerised by the hypnotic Icelandic band
The Independent
30. January 2009
Sigur Rós's glacial soundscapes are all over British television and tomorrow The Independent is giving readers an exclusive collection of their best tracks. Andy Gill examines their soaring popularity and explains why he is mesmerised by the hypnotic Icelandic band.
Each week, along with the basic album and singles sales charts, there are myriad other charts published that track the diverse fortunes of the music industry, including those for the various major download sites, and the number of radio plays each track has secured. The one thing that isn't measured, however, may be the most influential of all: the prominence a piece of music achieves on that most powerful of all media, television.
Television is important in a way that the other charts, by their very nature, ignore: less concerned with immediacy, it can afford to ignore the rapidly changing tastes of a fickle industry like music, but employ the same piece of music over and over again, establishing it as the musical livery of a programme or strand, and confirming it as one of the emblematic musical signatures of its era. For the last year or two, it's been Sigur Rós's heavenly "Hoppípolla" that can't be avoided.
You've all heard it hundreds of times: that tentative piano figure cycling around and around, seeming to climb up and up expectantly like an MC Escher belvedere, until it finally reaches some emotional tipping-point and brims over, cascading in soul-lifting waves of fulfilment as strings and brass crowd round to hymn along.
It's become utterly ubiquitous since its release in 2005, as directors discovered how perfectly it seemed to suit all manner of situations, from baby whales being reunited with mommy whales on nature programmes, to some clueless pleb finally mastering a meaningless task on any of a hundred bogus reality-TV shows. Look! She's managed to run that half-marathon! Cue "Hoppípolla". See! The courting swans entwine their necks! Cue "Hoppípolla". Wow! He's not just conquered his fear of flying, he's enduring barrel-rolls! Cue "Hoppípolla". Gasp! It's the winning goal, in slow motion! Cue "Hoppípolla". And so on.
By last year, it was almost possible to channel-hop randomly and never hear anything else. It was even used in an episode of Doctor Who, and more recently in trailers for Slumdog Millionaire. And Oxfam adverts. And The X Factor, the audio equivalent of sleeping with the enemy. Small wonder that when Sigur Rós were recording it, they gave it the nickname "The Money Song" – they immediately gauged its appeal – before settling on "Hoppípolla" (Icelandic for "jumping in puddles").
You can hear why it's so popular among programme-makers. Because Jónsi Birgisson is singing in his native language, it's not stained by lyrical associations, while it fulfils our current yearning for aspirational sonic euphoria. It's like Coldplay minus the simpering-twatness, Radiohead minus the bitter curmudgeonly aftertaste, U2 minus the overweening egotism. It's the perfect musical soundtrack, it seems, for a UK blinded by vague empathy as it hurtles towards bankruptcy.
But it's not, Birgisson claims, as ubiquitous on Icelandic telly as it is here. "No, that's definitely a British thing," he says. "Everything dramatic and 'Hallelujah', every dramatic ending – cue it up!" (I'm not sure, in retrospect, whether he's referring to that "Hallelujah" or is using the word as an emotional analogue and has, spookily, simply stumbled across TV's new-found replacement for "Hoppípolla".)
"Hoppípolla" thrust Sigur Rós on to an entirely new plane of fame and fortune. The album from which it was taken, Takk..., was their fourth full-length outing, its predecessors having appealed predominantly to a refined art-rock constituency. Their debut album Von, for instance, sold a grand total of 313 copies in Iceland when first released in 1997, only accruing popularity when it was reissued in the wake of subsequent successes with 1999's Agætis byrjun and 2002's (). Since then, they have earned vast sums from their art, a position ironically exaggerated by the recent financial upheavals in Iceland. "Because we get our salaries and stuff from England, and the krone to the English pound has just doubled, it is actually good for us personally," explains Birgisson, with slight embarrassment. "But for the people around us, it is not good."
() still represents perhaps the furthest extremity of aesthetic insularity in pop music. Besides having no title as such (it's usually referred to as "Brackets" or "Parentheses"), and a largely white, albeit elaborate, packaging, its eight tracks lacked titles, and even the songs, sung by Birgisson in the distinctive fallen-choirboy falsetto that has enchanted millions, were written in the band's made-up language of Hopelandic, a meaningless succesion of phonemes that seems as though it ought to mean something, but doesn't. Did meaning matter much to them?
"I think if you want to have lyrics, then meaning has to matter," Birgisson says. "But yes, we have this kind of love-hate relationship with lyrics, because music flows so naturally for us, and when you come to write lyrics you have to put yourself in a different space. We usually start by singing some nonsense over the songs, then I listen to that, and usually, within that gobbledigook, there is often some spark of meaning – so you take out one word and start from there, and find out what the song should be about."
Intriguingly, the band's most recent album, last year's Med sud í eyrum vid spilum endalaust ("With a buzz in our ears we play endlessly"), even contained a track entitled "Gobbledigook" – which with typical perversity made perfect sense in translation, being an ode to the "hair-stroking, hem-blowing prankster-boy" wind ("You make hats fly into the air, you turn umbrellas inside out too often", etc). According to Birgisson, it was inspired by the Eurovision Song Contest, a claim that beggars belief given Sigur Rós's reputation for creating "cathedrals of sound". Surely Eurovision represents the diametric opposite of all they stand for?
"That was two years ago, when we were writing the songs for ...endalaust," he explains. "We had rented a big farm out in the country, and the Eurovision Song Contest was on television one night, so we watched that. The whole competition, all the way through. Then, after the contest, we just picked up instruments straight away and started playing, and this song came out. I don't know where it came from. It's such a crazy contest – it's crazy that you can actually have a contest about music – and it has such amazingly bad 'good' songs!"
By their own standards, "Gobbledigook" was a bizarre song, its stomping beat, static structure and light-heartedness operating at a sharp tangent to the slow, steadily developed sense of anthemic yearning for which they had become celebrated. If one were to assemble all the reviews and features written about Sigur Rós, the adjective used most often would probably be "glacial", and the critical stratagem most frequently employed would discuss their music in terms of the imposing Icelandic landscape – lazy clichés, of which the band themselves have become thoroughly sick and tired.
So how would they themselves describe their music? "I think the words that come to my mind are, like, 'organic', maybe," Birgisson eventually concedes. "There's something quite natural about it, and we think a lot about soundscapes when we are doing it. Basically, when you strip everything away from the music, at its quietest it's normal pop songs; but it's the way that you produce it that puts the meat on the bones of what you do. But it's always hard for us to describe how we sound."
Most bands, if pressed, will make similar claims on inexplicability, but in Sigur Rós's case there's more justification than most, their music being less permeable to descriptive, physical comparisons than abstract, emotional comparisons. And even then, they seem to have the gift of finding the gaps between emotions, sometimes leaving the listener adrift on a sea of conflicting moods and vague yearnings. In terms of instrumentation, however, they have shifted more towards using acoustic sources than electronic ones, particularly on ...endalaust. This, it transpires, was more a matter of convenience when they found themselves in unfamiliar surroundings.
"When we rented the farm in Iceland, we started out using mainly acoustic instruments, and it just developed from there," explains Birgisson. "But the basic structure of most of the songs is just acoustic, that is always our starting point."
Do you have a favourite sound?
"My favourite sound, ever?"
Yes, a sound source, such as marimba, piano or violin...
"Definitely," he decides, "it would be something like wind in trees, a nature sound of some sort. But as regards instruments, I like piano, celesta... there are so many beautiful-sounding V C instruments around. It depends how you play them."
This observation leads into a discussion about Washington Phillips, a gospel singer and songwriter from the Twenties, of whom we are both fans. Like Robert Johnson, Phillips recorded only a handful of songs (16 in total) but he accompanied himself on a mysterious instrument – either a dulceola, dolceola, celestaphone, phonoharp or fretless zither – related to the hammer-dulcimer. But, as with Johnson, the lack of documentary evidence and the unique sound of Phillips's instrument have provoked feverish debate among enthusiasts ever since.
"Is it a dulcimer?" queries Birgisson. "But it seems like he's strumming it! It sounds amazing, like some form of harp-guitar." His fascination with Phillips makes obvious sense, both musicians' work exhibiting a haunting blend of certitude and vulnerability – what might best be called a fragile majesty, especially when the band's sound is swelled by the addition of the Amiina string quartet, or the subtle lowing of horns which, on ...endalaust, relates more to the British brass-band tradition than the American R&B tradition. This may or may not have something to do with their collaboration on that album with the British producer Mike "Flood" Ellis, best known for his work with indie and goth acts such as Nick Cave, Nine Inch Nails, U2 and The Killers."We had never worked with a producer before, and it was a good learning experience for us," Birgisson says. "Before, it was always just the four of us together, doing everything for ourselves. When he first came, it was a weird situation, because he has his own way of working, and we have ours. He is so focused, and such a hard worker. He became like a father figure to ...endalaust: he was always there, from 10 in the morning to 10 in the evening. When you have your own studio, like we do, and no pressures of time, it's easy to just have a coffee and decide to do it tomorrow! That had been happening quite a lot with us. And it was good for us to go to other studios: we recorded the basic tracks in New York, and basically, you're just locked in a room all the time. It was fun, though."
Their tentative outreach programme for ...endalaust did encounter one stumbling block, however, when they decided to commission the Berlin-based artist Olafur Eliasson, who created the Sun installation in the Tate Modern turbine hall, to do the album artwork, an alliance that didn't work out as well as hoped.
"We had long talks with him and met a couple of times to discuss ideas with him, but basically it just didn't work out," Birgisson says. "We had just totally different characters in our working methods – he is so methodical and mathematical, so well-thought-out and correct, and has definite meaning, and we are so spontaneous and rough, and everything we do has a huge amount of soul, but no meaning."
Instead, they opted to use a picture by the photographer Ryan McGinley of naked youths running across a road, which the band felt captured their spontaneous quality. Even that caused problems in America, where bare buttocks – at least those not belonging to porn stars – seem to offend the sensibilities.
"That was so weird!" recalls Birgisson. "When we played in America, we would arrive at venues and there would be posters outside advertising the gig, and they would be blacked out! And the CD would have stickers put over the asses! Why should they be embarrassed by naked bodies? There's nothing offensive about it. Look at rap album covers and you see, say, 50 Cent, and he's posing with guns and stuff, flexing his muscles – what a role model! That should be censored, surely? It's crazy! But hopefully, times are changing."
Oddly, for such a guileless, reserved band, Sigur Rós now seem to be the favourite band of every A-list celebrity, from tattooed rocker Tommy Lee of Mötley Crüe, who appears to use them as some form of meditative chill-out refuge from his racy lifestyle, to megastar Brad Pitt. More queasily, the band's music was apparently playing when Gwyneth Paltrow produced her little Apple. It all seems a million miles away from their lives in Iceland, as Birgisson confirms.
"It's nothing to do with us," he says. "We just live our normal lives in our small Reykjavik, we have our own apartments, our own families and kids, and our fame doesn't affect us at all, I think. We never think about it, we never talk about it, and we don't make a big thing out of it – we don't play the media game, stuff like that. We just like to be able to walk down the street and go to a coffee-house, things like that."
Source: The Independent
www.independent.co.uk/arts-entertainment/music/features/sigur-r243s-why-were-mesmerised-by-the-hypnotic-icelandic-band-1519898.html
Tracklist of the Free CD "We play endlessly"
1 - Hoppípolla
2 - Inní mér syngur vitleysingur
3 - Saeglópur
4 - Gobbledigook
5 - Í Gær
6 - Fljótavík
7 - Hafsól
8 - Heysátan
9 - Ti Ki
Shogun "Charm City" Release Concert @ Grand Rokk 31. January 2009
Shogun play @ Grand Rokk tonight to celebrate the release of their debut album "Charm City".Supporting Acts are Johnny and the Rest & Endless Dark.
Doors Open @ 21:00
Start @ 22:00
Free drinks for a while ...
Entrance: 1.000 ISK or Admission + Album Copy for 1.500 ISK.
www.myspace.com/shogunice
Friday, January 30, 2009
Mugison "I want you" Live @ Patronaat, Haarlem, The Netherlands 18. July 2008
Mugison
"I want you" Live @ Patronaat Café, Haarlem (NL), July 2008.
A Video by Oktober Films.
www.youtube.com/watch?v=0H4cd6lpt1g&hl&fmt=18
"I want you" Live @ Patronaat Café, Haarlem (NL), July 2008.
A Video by Oktober Films.
www.youtube.com/watch?v=0H4cd6lpt1g&hl&fmt=18
Live Shows: Retro Stefson "Hip Hop" Show @ Prikid 30. January | Agent Fresco @ Kaffi Rot 3. February
Retro Stefson Hip Hop Show
30. January 2009
22:00-23:30 @ Prikið
Agent Fresco
3. February 2009
Start 21:00 @ Kaffi Rót
Other artists are Mikado and Joelion
Free entrance
30. January 2009
22:00-23:30 @ Prikið
Agent Fresco
3. February 2009
Start 21:00 @ Kaffi Rót
Other artists are Mikado and Joelion
Free entrance
Wednesday, January 28, 2009
Tuesday, January 27, 2009
My First Attempt At Building!
I have been to sandboxes and had the frustrating experience of people there who only go to bother others, griefers. I have put a box on the ground and stretched it and rotated it. I have put an outfit on and modified it with the basic tools in the edit section, but I had never built anything that was going to stay put or that was very big. I decided after being in Second Life from the begining in 2003, and then leaving and coming back with a new account in 2007 that I was ready to actually purchase a piece of land. I looked in search and the land sales, asked friends in my clan family about their experiences and took their advice and finally decided on a little island of my own. It is very private and I now can control who and what comes around. I can't believe I waited this long to do this! It is fantastic to actually own a virtual piece of land. I can build and leave it and move it and edit the terrain. It is so incredible what you can do in Second Life! I started with a pre formed castle thinking that since it was pretty much put together that it would be easy! I was wrong. I rezzed it on the ground where I wanted it and it was the size of a little sand castle, lol. I stretched and moved it until it was the size i wanted. I thought okay that was easy. That is when I decided that I didn't like the floor texture, or the wall texture, or the shape of the fire place. So I began changing things. Now, since I have been in Second Life so long I have quite the selection of textures. So at first it was fun! I began by changing the outer walls of the castle. I right clicked on the castle, edited and then chose texture. I put on so many different ones just trying them out, but I found that I had lost the origanal stone texture. It was not in my inventory, so I had to chose a different one, and that in itself wasn't so bad, because I had so many different types of stone ones. The thing that was bad is that some of the castle was linked together and some was not. This means that some of the castle was one stone and the other parts were another! I had to change almost stone by stone the textures into the same ones. I relinked and locked and unlinked and relinked so many times! I could not believe how many parts were with this castle!! If I had it to do over again I would have made sure the whole thing was linked in the begining and then just went to edit the linked items. But, I am learning so it is all an experiment of new skills learned each day. After I changed the floor to marble, which again required a lot of linking and unlinking, I was so exhausted I felt like I had done it for real! I decided then I would stop on the castle and work on the sky box that came in the box. I wanted to put it way up so that I could make it a little private get away for friends and I to enjoy the sky and stars. I went up to 3000 meters and rezzed the skybox platform and the skybox which 
again was the size of a small sand castle. I finally got the two to fit right and stretched to the right size and then decided I hated all of the textures, lol. I played around and came up with the idea of an all glass skybox. I chose a glass block texture and stained glass for the windows. Wow it looked pretty cool! I found a music pod in my inventory that I had picked up so long ago and put it on the wall. I linked everything, put a nice rug, played nice music set the light to midnight and it was amazing. The moon and the stars were so bright and you could see everything. The glass block texture that I chose was blue so it glowed bluish in the night! Then, I thought that I should put the music pod on the other side of the room, so I clicked and took it into my inventory.....um without unlinking it. Which as you can guess took the entire skybox back, except that three of the windows were not linked! So there they were floating around and the rug was floating around too. I tried to fly around and take everything back, but everything went back into my inventory as the name, object. Just to let you know how difficult that is, I have 25000 objects in my inventory and a lot of them were made while building the castle below. I couldn't find the windows at all. I rezzed a lot of objects and never found them. I tried to put the skybox back and it wouldn't let me drop it. I don't know why. I could wear, and detach, but not drop! I went back down to the castle so mad at myself that I had to log off. I came back after some nice coffee and a bite to eat, since I had spent the majority of the early morning hours trying to unscrew what I had screwed up. I put my flight feather on and went back up to 3000 meters and rezzed the platform and skybox again. It all came back except the windows and I was actually pretty happy about that. The next hour or so I spent trying to figure out how to make a window like the other three that were linked when I took the skybox back. I teleported a friend who does some building and he showed my how easy it was to make my own windows!I can't believe it. It is so simple.
You click the build at the bottom of the screen and in the box you choose the box object and click on the ground! A box appears and you add the texture of the stained glass. Now you have a stained glass box. You stretch and move into place! You have to adjust the horizontal and the vertical postion of the texture by editing and choosing texture. You move the horizontal and the vertical numbers to the places that you want. I copied the numbers and the settings from the other windows. Perfect!! Oh if you are thinking, why couldn't you just copy the other windows, I will tell you that I tried and failed. It would not let me do it. So now I know how to make my own windows!!!!
Next article I am going to tell you how to make your own teleport box!
Have fun exploring and learning!
By Christina Munro
múm News: New Album & Live gigs
News on múm's MySpace:
The band has almost finished a new album.
They will probably be playing a lot of shows this year.
múm sounds like 'moon' but doesn't rhyme with spoon. It rhymes with doom & gloom. Oh, the dark side of the múm.
Source:
www.myspace.com/mumtheband
"Moon Pull" Video by Christina Gransow
The band has almost finished a new album.
They will probably be playing a lot of shows this year.
múm sounds like 'moon' but doesn't rhyme with spoon. It rhymes with doom & gloom. Oh, the dark side of the múm.
Source:
www.myspace.com/mumtheband
"Moon Pull" Video by Christina Gransow
"We play endlessly" Free Sigur Rós CD
Sigur Rós: We Play Endlessly free with The Independent on Saturday31. January 2009
An offer in association with Q magazine.
Album "We Play Endlessly" features nine tracks taken from three of their critically acclaimed albums, including the hugely popular Hoppípolla and Sæglópur.
Source:
www.independent.co.uk/arts-entertainment/music/features/sigur-rs-we-play-endlessly-free-with-the-independent-on-saturday-1514254.html
Breezes Thoughts: Your little piece of paradise in Secondlife
WHEN TIMES GET ROUGH AND YOU DON'T KNOW WHAT TO DO, find yourself a quiet lovely place to sit and contemplate.Watch the beauty of this world, erase the thoughts that fill your mind. It takes time, but see the rainbow above me? somewhere in the rainbow and in the very best friends is the help that will help you find your way.
Come to spots like this each and every day talk out loud when times are wonderful.
Open your hearts and lifts your hands to embrace the love that surrounds you it will come to you in time.
Everyone should have their own little piece of paradise in SL, somewhere to just sit, relax and think. This is mine and its appropriately named Sanctuary and wondrous magical place which makes all the troubles drift away.
I am wishing in the night and it must come true as who has ever seen a rainbow in the night?Told you to throw coin or fairy dust in the well NOT yourself you silly!
Oh well I can still make mistakes and laugh especially when I am so relaxed!
Have you found YOUR place yet?
Breezes Babii
I am always searching for something
Anthem Blue Cross California Lap Band
Grid parity
Obama and the New Deal green. Finally. Now any idiot can no longer say that the U.S. does not cooperate with the lowering of CO2 emissions, and consequently for Europe there is no duty to get busy on. Indeed, the same idiots should take this sentence: "My Administration does not deny the facts , will be guided by these " and think it over. The facts, what they have always denied, distorted, rebuilt in art, between smiles, jokes, racism trumpeted as patriotism, demagoguery disguised as efficiency, in other words we might call the usual mixture of old politics adapted to the company image of reality.
Realize 's goal ( one of the objectives) of Obama: by 2020 have as many cars can do 15 km per liter. Consequence: it would not be possible to sell in the United States no BMW or Mercedes or SUV or large sedan average ( at least according to the current characteristics ). Such a decision would, in some of our political, surely the wrath of those who must defend the oppressed class of car manufacturers. Poor things, why not let them pollute? Unlike our dwarfs & dancing, and adds Obama states: "Our goal is not to place new barriers to an industry already under heavy difficulty is help American manufacturers to prepare for the future . "assist and future instead of mezzucci for the present, who know defibrillator .
While I very much hope that our government, perhaps to fashion, perhaps to make himself look good, make the effort to move towards similar objectives to the current United States, I would urge anyone who still fills the mouth with the CAZZATE about the high cost of PV, reading a article the Sole24Ore that I had lost myself and I only recovered today. If you want a summary of the bone, here it is: three major manufacturers of photovoltaic ( company American, a Chinese a English ) agree in fixing between 4 or 5 years the so-called grid parity , namely the point where electricity from photovoltaics cost as much as that which comes from fossil fuels.
5 years would be the half the time it takes to build our first and most important nuclear power plant and Inexpensive.
Obama and the New Deal green. Finally. Now any idiot can no longer say that the U.S. does not cooperate with the lowering of CO2 emissions, and consequently for Europe there is no duty to get busy on. Indeed, the same idiots should take this sentence: "My Administration does not deny the facts , will be guided by these " and think it over. The facts, what they have always denied, distorted, rebuilt in art, between smiles, jokes, racism trumpeted as patriotism, demagoguery disguised as efficiency, in other words we might call the usual mixture of old politics adapted to the company image of reality.
Realize 's goal ( one of the objectives) of Obama: by 2020 have as many cars can do 15 km per liter. Consequence: it would not be possible to sell in the United States no BMW or Mercedes or SUV or large sedan average ( at least according to the current characteristics ). Such a decision would, in some of our political, surely the wrath of those who must defend the oppressed class of car manufacturers. Poor things, why not let them pollute? Unlike our dwarfs & dancing, and adds Obama states: "Our goal is not to place new barriers to an industry already under heavy difficulty is help American manufacturers to prepare for the future . "assist and future instead of mezzucci for the present, who know defibrillator .
While I very much hope that our government, perhaps to fashion, perhaps to make himself look good, make the effort to move towards similar objectives to the current United States, I would urge anyone who still fills the mouth with the CAZZATE about the high cost of PV, reading a article the Sole24Ore that I had lost myself and I only recovered today. If you want a summary of the bone, here it is: three major manufacturers of photovoltaic ( company American, a Chinese a English ) agree in fixing between 4 or 5 years the so-called grid parity , namely the point where electricity from photovoltaics cost as much as that which comes from fossil fuels.
5 years would be the half the time it takes to build our first and most important nuclear power plant and Inexpensive.
Monday, January 26, 2009
Sudden Weather Change signed to Kimi Records Label - Debut Album expected for March 2009
Sudden Weather Change whose 6-track EP back in December 2006 sent small crowds wild, and who rocked bigger audiences at both the 2007 and 2008 with their brand of soulful, energetic alt-rock, have signed up to Iceland’s most proactive new label.
“Kimi signed Sudden Weather Change because they are a good band and they are in it for the right reasons,” comments Kimi's Big Kahuna Baldvin Esra Einarsson. “They play honest, wholesome guitar-driven indierock with some good harmonizing vocals. Their songs are good and the sound of their album is very good. We are planning on releasing the album on CD, Vinyl and Digital together in Iceland and Europe, and are always on the look out for collaborators all over the world, whether distributors, licensees, publishers or tour agents.”
Sudden Weather Change’s debut album is expected to drop in March 2009.
Kimi @ www.kimirecords.net
Source: IMX
www.icelandmusic.is
Sudden Weather Change @ www.myspace.com/suddenweatherchange
“Kimi signed Sudden Weather Change because they are a good band and they are in it for the right reasons,” comments Kimi's Big Kahuna Baldvin Esra Einarsson. “They play honest, wholesome guitar-driven indierock with some good harmonizing vocals. Their songs are good and the sound of their album is very good. We are planning on releasing the album on CD, Vinyl and Digital together in Iceland and Europe, and are always on the look out for collaborators all over the world, whether distributors, licensees, publishers or tour agents.”
Sudden Weather Change’s debut album is expected to drop in March 2009.
Kimi @ www.kimirecords.net
Source: IMX
www.icelandmusic.is
Sudden Weather Change @ www.myspace.com/suddenweatherchange
3rd Eberg Album "Antidote" Released in Japan on Rallye Label 11. February 2009
Eberg's third album"Antidote" will be released first in Japan: 11. February under the flag of music Label Rallye.The Songs are:
1. Antidote
2. One Step At The Time -bonus track
3. The Right Thing To Do
4. Reykjavik
5. Been Thinking of You
6. All Day and All of The Nigfht -bonus track
7. Daybrake
8. No Need To Worry
9. Let's Spend The Day
10. Your Kindness is Cruel
11. The Boy Likes Them Both
12. Februray Sky
13. Instrumental -bonus Track
Rallye also distributed Eberg's last Album "Voff Voff'" in Japan.
Ilustrator Ryoji Arai designed the cover art.
Download a song for free: "One step at the time"
http://medialux.com/artistnews/139-eberg-japan-antidote-free-download
Listen to 3 more new songs @ Eberg's MySpace:
"Antidote"
"The right thing to do"
"Been thinking of you"
"Antidote"
"The right thing to do"
"Been thinking of you"
Sunday, January 25, 2009
Looking Back at the STA
It’s been a year since my old hangout, the STA, faded away from Second Life. But it is still remembered.
My story there began at Luskwood, my first hangout, in August 2007. It was just weeks after by long newbie period could be called over. One day there, I met a lively lady named Kara. She and I became friends, and looked forward to seeing one another. A few days later, she invited me to TP over where she was. So I did, and found myself in a circle of cafe tables & chairs, with two guys with her. She introduced them as Blarion and Keli. She called the place the STA.
Little did I know how big a part of our experience in SL this little place would be.
The STA area, short for Student Travel Association, was bought by the agency for the purpose of attracting people to their website to purchase travel tickets. It was made up of two sims. the east one held the main STA building. It was like that of a fancy travel agency, showing pictures advertising the benefits and joys of traveling abroad. The west one, Orientation Island, was the one my friends and I usually hung around.The STA was run by two people. GlobetrekkerBob Lane was the official manager of the sim. But a great deal of the work was done by assistant manager Euranna Rossini, or Anna as we called her. We would occasionally run across them near the walkway, where they would talk about an unusual happening, or perhaps a story. GlobetrekkerBob for instance had done quite a bit of world traveling earlier in his life, and would occasionally tell a story from those days. At parties, Anna would always show up. Bob usually did.
They didn’t run things by themselves. They had the help of a small number of volunteers, such as Aellyn, August, Stormshadow, Gemini, Maccy, Sparklin Indigo, Ivana, Rashed, and others. My friends also helped a little, myself offering help to newcomers, so Bob considered us members of the STA group as well, though with no set hours. Blarion also became the DJ for the Monday night parties, with Keli as host. Blarion also got the use of one dorm, even though he wasn’t really a newcomer. Otis was another DJ with a rougher style.The STA had a partnership with Sean Voss and Landmark Island. The organizer of the Second Life Tour Group had a link to the STA, and would send them notices about his tours. A number of people, myself included, belonged in both groups.
So we hung around there, getting used to the occasional nude newbie, “Ray Stevens music anyone?” I would dryly comment sometimes. Sometimes we would run into a new friend. Sometimes there would be a crazy situation, such as a completely random shapeshifter. Kara changed from a catgirl to a huskygirl a few weeks after I first came across the STA, Blair switched to a wolf avie. Keli was always a Kitsune at Orientation island. Four others joined Kara’s band of friends, three men and a lady. The guys, two huskyboys and a blue raccoon, were Schism and two whom wished to be anonymous. The second huskygirl was Kara’s roommate Kana, whom had a greater mischievous streak than Kara.
Then I got my job at the newspaper, and the place became a favorite spot to take pictures for cartoons. My friends also gave me a few ideas for articles.The high point of the STA was the “Wandering Art” Show. For three days, the dorms and sandbox gave way to picture art displays in the notrh, and sculpture in the south, with over thirty artists represented. This got the place some publicity, and the costume party was like being able to have some leftover Halloween fun. And in Christmas and New Year’s, the fun continued. At one point, Bob mentioned the Discovery Channel was interested in the sim, but I never did see the place on TV.
Then on January 25, 2008 came something no one expected. I logged on to get a message from Bob that the STA was gone. The company had decided the sim was not getting them an increase in sales, and so they pulled the plug. Those online at the time gathered for a few hours after the last-minute warning, and then the sim vanished. By the time I logged on, they had gathered at a friends beach, talking about what had happened, and about the sim. We were still in disbelief over it, and no one knew for sure what they were going to do next. Bob told a few stories, and stated he was going to take a few days off from Second Life before deciding his next move.
Others expressed their sadness at the STA’s passing. The Shade dance club made plans for a newcomer orientation place on their land. Sean Voss invited us to use his Landmark Island as a hangout, and of course his weekly tours continued. But instead we went in different directions. I followed Kara and friends to hanging out at a sandbox with a “treehouse” building. But a few weeks after the STA closing, Kara told everyone goodbye, saying she was going on a long hiatus. And with her gone, it just wasn’t the same happy little group it once was, and we met less and less. Blarion DJed for a while, but gave it up to concentrate on college.
I never did see Bob again. Anna told me he had come back online once, but mentioned nothing about future plans. Sparklin Indigo soon created a club, Sparks Ignite. It did good for some months, but real life stepped in, and she had to abandon it. Otis found other places to DJ. Euranna Rossini was the most successful, starting up a virtual flower shop: Gairdin na Sidhe. One can still go there to get flowers.
Many old friends from the STA I seldom ran into any more, or never saw again. Then when some friends talked about having a rezzday party for Blarion in June 2008, so many people from the STA were invited, it turned out to be much like a reunion. Some like Otis I hadn’t seen since the STA closed, and would not see again for a while. It was a happy time, and even though the location was different, it felt a little like the old STA had come back for a little while.
A year later, we’ve more or less gone our own ways, some of us keeping occasional tabs with one another. But we’ve never forgotten our old home in Second Life. It may be gone, but the memories of good times and friendships remain.
Bixyl Shuftan.
Trúbatrixur @ Paddy's Keflavík 5. February 2009
Trúbatrixur @ Paddy's Keflavík
The Icelandic Rock Chicks are heading to Paddy's 5. February.
Time: 18:00-23:00
Program:
Frumpets
Nanna
Aðalheiður
Heiða
Myrra
Elíza
Ragga og Emma
Fríða Dís
www.myspace.com/trubatrix
Scandinavian Collaboration @ Frits Philips Muziekcentrum, Eindhoven, 23. November 2008
Ólafur Arnalds, Teitur (Faroe Islands) & Ane Brun (Norway) together on stage @ Strings over Scandinavia Evening @ Frits Philips Muziekcentrum, Eindhoven, 23. November 2008.
"We still drink the same water"
www.youtube.com/watch?v=lYyEk52b1eM&hl&fmt=18
www.myspace.com/olafurarnalds
"We still drink the same water"
www.youtube.com/watch?v=lYyEk52b1eM&hl&fmt=18
www.myspace.com/olafurarnalds
Trip around Iceland Video - Soundtrack by Kira Kira
Around Iceland Video
Upcoming Kira Kira gigs in January & February (With 2 concerts in Belgium!):
25. Jan 2009 9:30P Mariaberg Rorschach
26. Jan 2009 8:00P Traffic Rome
27. Jan 2009 8:00P Ecoteca Pescara
28. Jan 2009 10:00P Diagonál Forli
30. Jan 2009 9:30P Recyclart Brussels (B)
1. Feb 2009 8:00P Maison Maldegem (B)
3. Feb 2009 8:00P L’International Paris
4. Feb 2009 10:30P USVA Groningen (NL)
5. Feb 2009 8:00P Astra Stube Hamburg
6. Feb 2009 8:00P Huset i Magstræde (musikcaféen) Copenhagen
7. Feb 2009 8:00P Nordklang Festival St. Gallen www.myspace.com/trallaladykirakira
Upcoming Kira Kira gigs in January & February (With 2 concerts in Belgium!):
25. Jan 2009 9:30P Mariaberg Rorschach
26. Jan 2009 8:00P Traffic Rome
27. Jan 2009 8:00P Ecoteca Pescara
28. Jan 2009 10:00P Diagonál Forli
30. Jan 2009 9:30P Recyclart Brussels (B)
1. Feb 2009 8:00P Maison Maldegem (B)
3. Feb 2009 8:00P L’International Paris
4. Feb 2009 10:30P USVA Groningen (NL)
5. Feb 2009 8:00P Astra Stube Hamburg
6. Feb 2009 8:00P Huset i Magstræde (musikcaféen) Copenhagen
7. Feb 2009 8:00P Nordklang Festival St. Gallen www.myspace.com/trallaladykirakira
Saturday, January 24, 2009
Subscribe to:
Posts (Atom)
