Tuesday, 15 May 2012
Thursday, 3 May 2012
New Interview with Jónsi
Source: drownedinsound interview
"It actually feels like coming home again" - DiS meets Jonsi from Sigur Ros
When Sigur Ros announced last month that they had a brand new album recorded and ready to go, the collective sigh of relief could be traced all the way from the United Kingdom to the United States and back again. Stories of indefinite hiatuses and even possible break-ups proving to be completely unfounded, Valtari, their first record since 2008's Med Sud I Eyrum Vid Spilum Endalaust, has been confirmed for release on 28th May 2012.
What's more, it's a succinctly atmospheric affair, more akin to the ambient soundscapes of Agaetis Byrjun or () rather than its predecessor's fluent pop stylings. It's an album that will delight long term devotees of the band while re-establishing them as a creative force to be reckoned with, some eighteen years after initially forming.
Inevitably, every last pocket of the music press wants a soundbite or two to go with the news story, something which the reluctantly shy four-piece have managed to go to great lengths to avoid throughout their career. Bearing this in mind, DiS feels quite honoured at being one of the few publications granted access to the personal space of guitar player, vocalist and principal songwriter Jonsi Birgisson.
We find ourselves perched in the plush surroundings of the Covent Garden Hotel in the capital's ubertrendy Monmouth Street, where test tube shaped bottles of water sit awkwardly on pristine, antique coffee tables. Pleasantries exchanged, not least a complimentary reminisce from our host about his previous encounter with Drowned In Sound, the interrogation begins.
DiS: It's been four years since the last Sigur Ros album. Was there ever a point where the so-called "indefinite hiatus" could have become permanent?
Jonsi: I don't know about that! Somebody said we were on an indefinite hiatus - I think it may have been our manager - and I didn't even know what it meant. We'd been touring for so many years and we'd gotten tired so we took a break and the guys had babies. I did the Riceboy Sleeps album with my boyfriend Alex Somers and also a solo record (Go) which I toured a little bit. Now we're back together and it's a really nice vibe. Personally, it's great to be working with the guys in the band again after so long. It actually feels like coming home again. I enjoyed making the solo album but at the same time it feels great working with other people, sharing responsibilities and ideas rather than having to do everything myself.
DiS: I believe you had initially started writing the follow-up to Med Sud I Eyram Vid Spilum Endalaust as far back as 2009, but that it was scrapped several times? Have any of the songs from those sessions made it onto Valtari, and if not, will they be released in the future?
Jonsi: Valtari is basically that. A couple of the songs are even older than that. We recorded some of the choir segments in London maybe five or six years ago. At the time there was even talk of us maybe putting an album consisting entirely of choir music. We started recording those two songs ('Dauoalogn' and 'Varoeldur') and then we decided to slow everything down. A year later we started something else and then we began recycling a lot of our old music and added strings to it, which was cool but not inspiring so we shelved that also. The process has been quite scatterbrained and all over the place, quite confusing even. A few months ago we were listening back to all this material with our manager and he told us to release it and I guess looking back, we did put a lot of time and energy into making those songs so it would be a shame for it to go unheard. The last song on the album 'Fjogur Piano' was another recycled loop from some of our old material. We had this really deep concept that was almost like waiting in a parking lot outside the studio in a car. Kjartan (Sveinsson) went down into the swimming pool and recorded his piano part and turned into a loop so that when we put all the parts together you couldn't hear what the rest of us played but it all fitted so that's where the "four pianos" comes from.
DiS: The album's title, Valtari, translates as "Roller" in English. Is there any significance or concept in relation to the rest of the record as far as the title goes?
Jonsi: No, I couldn't really say there is. As far as the name Valtari or "Roller" goes, it was just a working title for the record for a long time. We took it from the name of the next-to-last song on the album which in itself was named after a construction outside the studio! I guess it ended up becoming something more important than it was originally supposed to be. I think it's quite a fitting title for the album actually.
DiS: Valtari seems to consist of a lot more atmospheric soundscapes than its most recent predecessor. Was it a deliberate attempt on the band's part to evoke the ambiance of () or Agaetis Byrjun?
Jonsi: Yes, I think so. With Med Sud I Eyram Vid Spilum Endalaust we'd kind of made an upbeat, festive pop record and it got to the point where we'd had enough of that so it seemed the right time to do something else.
DiS: The third track on the record 'Varuo' in particular reminds me of the final track from 2002's (), arguably your most underrated record to date. In hindsight, did you feel () was overlooked by certain sections of the media and is Valtari your way of rewriting the record books as it were?
Jonsi: No. I can honestly say I don't really listen to my own music any more. Once I've created something I'd rather just move onto the next thing than go backwards. I never revisit my old records.
DiS: Do you pay much attention to what people in the press are saying about you or the band?
Jonsi: I made a decision many years ago when I was eighteen years old and we'd just started the band not to pay too much attention to what critics are saying or writing about us, and I haven't really changed from that. I know there are a lot of weird people writing things on the internet but that's something we've learned to live with. I guess we haven't done too badly as far as the critics are concerned to still be here making music and playing live shows.
DiS: Your partner Alex (Somers) has co-produced Valtari. What did he manage to bring to the recording sessions, and it change the dynamic in the studio between you and the band bearing in mind you're both in a personal relationship?
Jonsi: No, it was cool. He's so nice to work with and a great guy in general. He mainly helped us with the recording process. He recorded us in the swimming pool and also our rehearsal space and then he mixed it in our attic in the house me and him share. He brought a lot of new arrangements to the songs and reconstructed some of the pieces that were all over the place. He helped us make sense of it all and also encouraged us to record more instruments, and for me to sing and write more lyrics. I guess you could say he played a big part in the making of the record.
DiS: What about the electronic influence that seems to be prevalent throughout the album? Was Alex a major factor here as well?
Jonsi: It does have a lot more electronic pieces than our other albums, although I think this has more to do with us enjoying playing around and experimenting with new gadgets than anything else. Whenever we discover a new instrument or tool it's really exciting for us.
DiS: You put out two vinyl releases last weekend for Record Store Day. Do you see Record Store Day as being an important fixture on the calendar bearing in mind internet downloads have surpassed physical sales in the market?
Jonsi: I think it's cool, quite reminiscent even for me. When I was younger I'd be really excited to go to my local record store and see which band had released an album that week. I see it as being quite nostalgic in that sense. These days I'm pretty bad when it comes to discovering new music. I rarely go out and buy albums, but I like the concept of Record Store Day if it encourages kids from the next generation to seek out new music in the same way I did when I was their age. Nowadays it is so instant to consume music. People don't tend to listen to albums in full any more. They just seem to skip tracks and go to their three favourite songs then onto the next album and so on.
DiS: Are there any new artists at the moment who've caught your attention?
Jonsi: I'm really bad when it comes to new popular music but there's one artist I've been listening to a lot recently. Her name is Julia Holter. Her album is really cool. Also there's an Icelandic artist called Sin Fang. Alex (Somers) is doing an album with him at the moment. I think they're hoping to put it out next year. What I've heard so far is really good.
DiS: You're playing a number of festivals this summer including Bestival on the Isle Of Wight and Electric Picnic in Ireland. What made you choose those particular festivals and will their be an extensive world tour later on in the year?
Jonsi: We're doing a short North American tour and a few European dates as well as the festivals, then we're off to Australia. I think it only works out at about 30 shows this year, but we're definitely hoping to play some more shows in the new year.
DiS: Will you be taking the orchestra on tour with you?
Jonsi: I'm not sure yet, but I think we'll want to take some strings with us, especially when we're playing the new album. It will be difficult to translate those songs live without them.
DiS: How do you choose which shows or tours to do without any orchestration? On Inni that seemed to be a key characteristic in terms of affecting which songs you were able to play.
Jonsi: On our last major tour, we kind of decided straight away what we could play because we had Amiina doing the strings and a brass section with us, so that made it really comfortable. I think that's why we played a few shows just as a four-piece, because we wanted to prove to ourselves that we still had it!
DiS: At the same time, some of your songs only feature orchestral instruments. How do you go about writing those in the studio and then performing them?
Jonsi: When we were working with Amiina, they just came over for a weekend and just jammed over the top of the songs. We then decide what to leave in or take out and the songs generally develop from there. We tend to do everything from that point onwards, constructing then reconstructing each piece until it works for us.
DiS: With such an extensive back catalogue of work to choose from, how do you put together your setlists? Are there any songs or albums which you probably won't revisit again?
Jonsi: It's quite weird because we haven't played together as a live band for nearly four years now, so we're just starting to look at which songs we want to play live. We've a lot of songs to go through so it may get a bit confusing! Of course it's fun for us too, because there are some songs that we haven't played for a long time that may reappear on this tour, whereas some we won't touch. I don't know. What songs would you like to hear?
DiS: I'd like to hear 'Myrkur' from Von.
Jonsi: Really?
DiS: It was the first song I ever heard by Sigur Ros. I still play it when I DJ every now and then.
Jonsi: Really? Wow. It's so long since we played that song I've forgotten how it goes! I haven't heard that record in years.
DiS: I have to ask you about a blog that appeared on your website a while back, Homage Or Fromage, which kind of named and shamed numerous television commercials where unauthorised copying of your music had taken place. It seemed to center largely around variations of 'Hoppipolla' which had been used to advertise all sorts of products. Have you spotted any more recently and has there ever been a time where you've been forced to pursue legal action against one of the perpetrators?
Jonsi: I don't think so. I remember there was some golf club or company that was using one of our songs, or something that sounded very similar recently. There's a lot of that stuff going on, more so in the past. It seems to be used a lot in advertising campaigns and sports programmes whereby the producer has obviously tried to make it sound something like one of our songs but changed one part.
DiS: Going back to your solo projects such as Riceboy Sleeps, Go and also the We Bought A Zoo soundtrack for Cameron Crowe, do you see yourself embarking on more of these in the future? Particularly soundtracks or scores for example?
Jonsi: Yeah, I'd love to do a film score. It was fun to do something different like We Bought A Zoo. It's a lot more challenging than just doing your own songs for yourself or the band because you have so much more to think about. You have to study the dialogue of the film carefully and also the acts and the scenes so that each piece of music fits in with what you can see. It felt weird at first but now I think it was a good learning experience. I guess you could say it's a little bit more choreographed in some ways.
DiS: Aside from the album release and the live shows during the summer, what are your plans for the rest of the year and how long will we have to wait for the next Sigur Ros record?
Jonsi: We're going to start rehearsing for the summer tour very shortly, and then most of this year will be concentrated on the live shows. As for the next record, I think it probably won't be that far away... It feels really good to be in this band right now. Everyone's really excited again.
DiS: Are there any new songs or ideas floating around?
Jonsi: Maybe?!? No scoop!
"It actually feels like coming home again" - DiS meets Jonsi from Sigur Ros
When Sigur Ros announced last month that they had a brand new album recorded and ready to go, the collective sigh of relief could be traced all the way from the United Kingdom to the United States and back again. Stories of indefinite hiatuses and even possible break-ups proving to be completely unfounded, Valtari, their first record since 2008's Med Sud I Eyrum Vid Spilum Endalaust, has been confirmed for release on 28th May 2012.
What's more, it's a succinctly atmospheric affair, more akin to the ambient soundscapes of Agaetis Byrjun or () rather than its predecessor's fluent pop stylings. It's an album that will delight long term devotees of the band while re-establishing them as a creative force to be reckoned with, some eighteen years after initially forming.
Inevitably, every last pocket of the music press wants a soundbite or two to go with the news story, something which the reluctantly shy four-piece have managed to go to great lengths to avoid throughout their career. Bearing this in mind, DiS feels quite honoured at being one of the few publications granted access to the personal space of guitar player, vocalist and principal songwriter Jonsi Birgisson.
We find ourselves perched in the plush surroundings of the Covent Garden Hotel in the capital's ubertrendy Monmouth Street, where test tube shaped bottles of water sit awkwardly on pristine, antique coffee tables. Pleasantries exchanged, not least a complimentary reminisce from our host about his previous encounter with Drowned In Sound, the interrogation begins.
DiS: It's been four years since the last Sigur Ros album. Was there ever a point where the so-called "indefinite hiatus" could have become permanent?
Jonsi: I don't know about that! Somebody said we were on an indefinite hiatus - I think it may have been our manager - and I didn't even know what it meant. We'd been touring for so many years and we'd gotten tired so we took a break and the guys had babies. I did the Riceboy Sleeps album with my boyfriend Alex Somers and also a solo record (Go) which I toured a little bit. Now we're back together and it's a really nice vibe. Personally, it's great to be working with the guys in the band again after so long. It actually feels like coming home again. I enjoyed making the solo album but at the same time it feels great working with other people, sharing responsibilities and ideas rather than having to do everything myself.
DiS: I believe you had initially started writing the follow-up to Med Sud I Eyram Vid Spilum Endalaust as far back as 2009, but that it was scrapped several times? Have any of the songs from those sessions made it onto Valtari, and if not, will they be released in the future?
Jonsi: Valtari is basically that. A couple of the songs are even older than that. We recorded some of the choir segments in London maybe five or six years ago. At the time there was even talk of us maybe putting an album consisting entirely of choir music. We started recording those two songs ('Dauoalogn' and 'Varoeldur') and then we decided to slow everything down. A year later we started something else and then we began recycling a lot of our old music and added strings to it, which was cool but not inspiring so we shelved that also. The process has been quite scatterbrained and all over the place, quite confusing even. A few months ago we were listening back to all this material with our manager and he told us to release it and I guess looking back, we did put a lot of time and energy into making those songs so it would be a shame for it to go unheard. The last song on the album 'Fjogur Piano' was another recycled loop from some of our old material. We had this really deep concept that was almost like waiting in a parking lot outside the studio in a car. Kjartan (Sveinsson) went down into the swimming pool and recorded his piano part and turned into a loop so that when we put all the parts together you couldn't hear what the rest of us played but it all fitted so that's where the "four pianos" comes from.
DiS: The album's title, Valtari, translates as "Roller" in English. Is there any significance or concept in relation to the rest of the record as far as the title goes?
Jonsi: No, I couldn't really say there is. As far as the name Valtari or "Roller" goes, it was just a working title for the record for a long time. We took it from the name of the next-to-last song on the album which in itself was named after a construction outside the studio! I guess it ended up becoming something more important than it was originally supposed to be. I think it's quite a fitting title for the album actually.
DiS: Valtari seems to consist of a lot more atmospheric soundscapes than its most recent predecessor. Was it a deliberate attempt on the band's part to evoke the ambiance of () or Agaetis Byrjun?
Jonsi: Yes, I think so. With Med Sud I Eyram Vid Spilum Endalaust we'd kind of made an upbeat, festive pop record and it got to the point where we'd had enough of that so it seemed the right time to do something else.
DiS: The third track on the record 'Varuo' in particular reminds me of the final track from 2002's (), arguably your most underrated record to date. In hindsight, did you feel () was overlooked by certain sections of the media and is Valtari your way of rewriting the record books as it were?
Jonsi: No. I can honestly say I don't really listen to my own music any more. Once I've created something I'd rather just move onto the next thing than go backwards. I never revisit my old records.
DiS: Do you pay much attention to what people in the press are saying about you or the band?
Jonsi: I made a decision many years ago when I was eighteen years old and we'd just started the band not to pay too much attention to what critics are saying or writing about us, and I haven't really changed from that. I know there are a lot of weird people writing things on the internet but that's something we've learned to live with. I guess we haven't done too badly as far as the critics are concerned to still be here making music and playing live shows.
DiS: Your partner Alex (Somers) has co-produced Valtari. What did he manage to bring to the recording sessions, and it change the dynamic in the studio between you and the band bearing in mind you're both in a personal relationship?
Jonsi: No, it was cool. He's so nice to work with and a great guy in general. He mainly helped us with the recording process. He recorded us in the swimming pool and also our rehearsal space and then he mixed it in our attic in the house me and him share. He brought a lot of new arrangements to the songs and reconstructed some of the pieces that were all over the place. He helped us make sense of it all and also encouraged us to record more instruments, and for me to sing and write more lyrics. I guess you could say he played a big part in the making of the record.
DiS: What about the electronic influence that seems to be prevalent throughout the album? Was Alex a major factor here as well?
Jonsi: It does have a lot more electronic pieces than our other albums, although I think this has more to do with us enjoying playing around and experimenting with new gadgets than anything else. Whenever we discover a new instrument or tool it's really exciting for us.
DiS: You put out two vinyl releases last weekend for Record Store Day. Do you see Record Store Day as being an important fixture on the calendar bearing in mind internet downloads have surpassed physical sales in the market?
Jonsi: I think it's cool, quite reminiscent even for me. When I was younger I'd be really excited to go to my local record store and see which band had released an album that week. I see it as being quite nostalgic in that sense. These days I'm pretty bad when it comes to discovering new music. I rarely go out and buy albums, but I like the concept of Record Store Day if it encourages kids from the next generation to seek out new music in the same way I did when I was their age. Nowadays it is so instant to consume music. People don't tend to listen to albums in full any more. They just seem to skip tracks and go to their three favourite songs then onto the next album and so on.
DiS: Are there any new artists at the moment who've caught your attention?
Jonsi: I'm really bad when it comes to new popular music but there's one artist I've been listening to a lot recently. Her name is Julia Holter. Her album is really cool. Also there's an Icelandic artist called Sin Fang. Alex (Somers) is doing an album with him at the moment. I think they're hoping to put it out next year. What I've heard so far is really good.
DiS: You're playing a number of festivals this summer including Bestival on the Isle Of Wight and Electric Picnic in Ireland. What made you choose those particular festivals and will their be an extensive world tour later on in the year?
Jonsi: We're doing a short North American tour and a few European dates as well as the festivals, then we're off to Australia. I think it only works out at about 30 shows this year, but we're definitely hoping to play some more shows in the new year.
DiS: Will you be taking the orchestra on tour with you?
Jonsi: I'm not sure yet, but I think we'll want to take some strings with us, especially when we're playing the new album. It will be difficult to translate those songs live without them.
DiS: How do you choose which shows or tours to do without any orchestration? On Inni that seemed to be a key characteristic in terms of affecting which songs you were able to play.
Jonsi: On our last major tour, we kind of decided straight away what we could play because we had Amiina doing the strings and a brass section with us, so that made it really comfortable. I think that's why we played a few shows just as a four-piece, because we wanted to prove to ourselves that we still had it!
DiS: At the same time, some of your songs only feature orchestral instruments. How do you go about writing those in the studio and then performing them?
Jonsi: When we were working with Amiina, they just came over for a weekend and just jammed over the top of the songs. We then decide what to leave in or take out and the songs generally develop from there. We tend to do everything from that point onwards, constructing then reconstructing each piece until it works for us.
DiS: With such an extensive back catalogue of work to choose from, how do you put together your setlists? Are there any songs or albums which you probably won't revisit again?
Jonsi: It's quite weird because we haven't played together as a live band for nearly four years now, so we're just starting to look at which songs we want to play live. We've a lot of songs to go through so it may get a bit confusing! Of course it's fun for us too, because there are some songs that we haven't played for a long time that may reappear on this tour, whereas some we won't touch. I don't know. What songs would you like to hear?
DiS: I'd like to hear 'Myrkur' from Von.
Jonsi: Really?
DiS: It was the first song I ever heard by Sigur Ros. I still play it when I DJ every now and then.
Jonsi: Really? Wow. It's so long since we played that song I've forgotten how it goes! I haven't heard that record in years.
DiS: I have to ask you about a blog that appeared on your website a while back, Homage Or Fromage, which kind of named and shamed numerous television commercials where unauthorised copying of your music had taken place. It seemed to center largely around variations of 'Hoppipolla' which had been used to advertise all sorts of products. Have you spotted any more recently and has there ever been a time where you've been forced to pursue legal action against one of the perpetrators?
Jonsi: I don't think so. I remember there was some golf club or company that was using one of our songs, or something that sounded very similar recently. There's a lot of that stuff going on, more so in the past. It seems to be used a lot in advertising campaigns and sports programmes whereby the producer has obviously tried to make it sound something like one of our songs but changed one part.
DiS: Going back to your solo projects such as Riceboy Sleeps, Go and also the We Bought A Zoo soundtrack for Cameron Crowe, do you see yourself embarking on more of these in the future? Particularly soundtracks or scores for example?
Jonsi: Yeah, I'd love to do a film score. It was fun to do something different like We Bought A Zoo. It's a lot more challenging than just doing your own songs for yourself or the band because you have so much more to think about. You have to study the dialogue of the film carefully and also the acts and the scenes so that each piece of music fits in with what you can see. It felt weird at first but now I think it was a good learning experience. I guess you could say it's a little bit more choreographed in some ways.
DiS: Aside from the album release and the live shows during the summer, what are your plans for the rest of the year and how long will we have to wait for the next Sigur Ros record?
Jonsi: We're going to start rehearsing for the summer tour very shortly, and then most of this year will be concentrated on the live shows. As for the next record, I think it probably won't be that far away... It feels really good to be in this band right now. Everyone's really excited again.
DiS: Are there any new songs or ideas floating around?
Jonsi: Maybe?!? No scoop!
Monday, 30 April 2012
Helios - Moiety - New Album! ~ free download ~
Helios - Moiety
Helios, a firm and long time favourite of Victory Rose Music, [the creator of the now legendary album 'Eingya'] has just released a new album for free download as a thanks to fans but also in hope of support to keep producing more music in the future. In his own words:
Your support helps me to continue to make music. These items are my thank you to you, but if you like what you hear and you would like to donate, you may do so below. Warmest Wishes ~ Keith
Download - FLAC (Lossless)
Download - MP3 (320)
:DONATE: directly from this link or preferably from Keith's site as linked below
More information and full track listing HERE :
~ Warm thanks to Keith for his kindness
Friday, 27 April 2012
Friday, 20 April 2012
1st Review of Valtari...
SIGUR RÓS’ STEAM ROLLER DRONES, PLINKS AND PLONKS
Our special sneak preview of ‘Valtari’ is RIGHT HERE
20.4.2012 Words by Haukur S. Magnússon
We recently had a chance to sit down with Sigur Rós’ latest long player ‘Valtari’
(“Steamroller”), which is due out on May 28. Since anticipation for the record is high
we thought we would relay some of what we heard, so as to help you prepare for the
imminent drop. And we can confirm that while ‘Valtari’ is quite a departure from
their previous albums, it is at the same time very unmistakably the work of Sigur Rós.
The album—which is currently being previewed in its entirety on Icelandair’s in-
flight entertainment system—contains eight compositions clocking at just under an
hour (none of the tracks come in at under five minutes, a few pass the eight minute
mark). The promotional graphics that have been made public (see for instance
on Sigur Rós’ website) as well as the track titles (see our translations here) betray an opaque and murky, almost eerie, calm; the band pictures are heavily processed and filtered while the track names relay an air of withdrawal and introversion.
Judging by those promotional materials (including the extremely understated video
for first track “Ekki múkk”) one can ascertain that this new product is far removed from the airy and explosive pop-joy emitted on their last LP, ‘Með suð í eyrum við spilum endalaust’, (which was in itself quite a departure from ‘Takk’).
This is confirmed by listening through the album. The first thing you realize is
that this is not a ‘conventional Sigur Rós album’. However it should be noted that
Sigur Rós have never been a ‘conventional rock band’. Challenging the listener
and stretching his or her ideas of what the band is about and should sound like has
indeed been built into the core of Sigur Rós ever since the days of ‘Von’. Each
subsequent record has marked somewhat of a shift in sound and atmosphere (some
more than others) so you could argue that a new Sigur Rós record is ‘conventionally
unconventional’.
Here is a blow-by-blow of the tracks:
Ég anda (6:15)
The album is off to a slow and subdued start, setting the atmosphere for an album
that is ultimately... slow and subdued. The song sort of creeps in until Jónsi’s voice
suddenly appears at the three-thirty mark. As is often the case with Sigur Rós, the
vocals are drowned in the music, so discerning lyrical snippets is no mean feat. Sigur Rós’ fans will be taking their time with the task over the next few months.
Overall the track is relaxed and quite beautiful. There are no drums or beats to speak
of (which turns out to be true of almost all the tracks), yet a sort of magical mood is
created. With regards to ‘Með suð í eyrum við spilum endalaust’, it might as well be a
completely different band playing.
Ekki múkk (7:44)
“Ekki múkk” is the first song made public and should be familiar to the fans by now
(it will probably not score a lot of airplay, any more than the album’s other tracks).
This snaps, crackles and pops along, offering some nicely drone-y drones, like a radio
transmission from a distant universe (or a movie soundtrack). Expect to see it in lots
of student film projects and Iceland tourism videos in coming years.
Varúð (6:37)
Vintage-sounding or prepared pianos seem to be a running theme on this
album. “Ekki múkk” effortlessly segues into “Varúð”, which with its undertones of
grandiose symphonic dissonance seems like it would sound wonderful in a space like
Harpa’s Eldborg hall—all reverb and distant orchestra. If you listen really closely you
can even hear vague wafts of Jónsi’s signature violin/ e-bow guitar under there. The
sound of a children’s choir drifts in around halfway through, and some semblance
of drumming even appears (for the first time on the album) which then turns into a
big and powerful build-up that eventually fades out. It’s all very dramatic, somehow
removed from the Sigur Rós of old, yet it is clear that no other band could have done
it.
Rembihnútur (5:05)
The fourth song on the album also happens to be the fourth song in a row that sorts of
drifts into existence, with a few piano plonks and plinks and some harmonious strings
eventually entering the fray. But when you think it’s going to be more of the same,
by god, some bass guitar appears in there! The bass’s melody evokes warm emotion
while a tittering violin dominates the high frequencies.
Just when you think it’s another jam piece, Jónsi’s singing comes in at full force
around three minutes in and the song starts sounding more traditional (more like
a ‘proper tune’) than anything that preceded it. It sounds all kinds of beautiful, with
Jónsi’s lyrics seemingly offering an inspiring message of hope and consolation “I
will survive this. I will start again,” he sings in Icelandic over a rhythm that sounds
vaguely like someone drumming on a table (during class).
Dauðalogn (6:36)
The title of this one means “dead calm”. Some vocal manipulations drag us into
the tune, then Jónsi start’s singing and a peaceful scene is set. “Heimur hljóðlátur,
hreyfist ei hár á höfði” the lyrics go (“A quiet world, not a hair stirs...”), evoking
notions of countryside early mornings just before world awakens. It feels like the
band is yearning for simpler times, free from iPads and distraction. Dramatic and
calm, the track definitely lives up to its name, transforming into a drone before
ultimately fading away into...
Varðeldur (6:08)
...which is also a big droney drone of a song. Some plinks, some plonks, a little Jónsi
falsetto. The melodies on this album are barely discernible at times. But perhaps it
rewards repeated listening. One definitely gets the feeling that the fans will love it.
Just some piano plonking, ma’am.
Valtari (8:19)
This is the album’s longest track. Indeed, it is long and droning and full of minor
chords and it pretty much sounds like the rest of the album. A sad drift. It’s very
distinctly Sigur Rós, but it didn't grab me like I wanted it to? I think I had grown distracted at this point, losing
connection. It is a long album that's maybe best taken in bits (and I will try that later, when I get a copy).
Fjögur píanó (7:50)
This last track starts off with proper piano playing before evolving into a drone.
Needs a closer listen.
As mentioned above, ‘Valtari’ is quite a departure for Sigur Rós’, yet much in the
spirit of the band. Whether this is a good thing is as of yet indeterminable, since the
one thing that can be claimed with any certainty after giving it a once-over is that a
couple of more listens under optimal conditions are needed.
I’ll want some time with this album and a pair of headphones, that’s for sure.
Our special sneak preview of ‘Valtari’ is RIGHT HERE
20.4.2012 Words by Haukur S. Magnússon
We recently had a chance to sit down with Sigur Rós’ latest long player ‘Valtari’
(“Steamroller”), which is due out on May 28. Since anticipation for the record is high
we thought we would relay some of what we heard, so as to help you prepare for the
imminent drop. And we can confirm that while ‘Valtari’ is quite a departure from
their previous albums, it is at the same time very unmistakably the work of Sigur Rós.
The album—which is currently being previewed in its entirety on Icelandair’s in-
flight entertainment system—contains eight compositions clocking at just under an
hour (none of the tracks come in at under five minutes, a few pass the eight minute
mark). The promotional graphics that have been made public (see for instance
on Sigur Rós’ website) as well as the track titles (see our translations here) betray an opaque and murky, almost eerie, calm; the band pictures are heavily processed and filtered while the track names relay an air of withdrawal and introversion.
Judging by those promotional materials (including the extremely understated video
for first track “Ekki múkk”) one can ascertain that this new product is far removed from the airy and explosive pop-joy emitted on their last LP, ‘Með suð í eyrum við spilum endalaust’, (which was in itself quite a departure from ‘Takk’).
This is confirmed by listening through the album. The first thing you realize is
that this is not a ‘conventional Sigur Rós album’. However it should be noted that
Sigur Rós have never been a ‘conventional rock band’. Challenging the listener
and stretching his or her ideas of what the band is about and should sound like has
indeed been built into the core of Sigur Rós ever since the days of ‘Von’. Each
subsequent record has marked somewhat of a shift in sound and atmosphere (some
more than others) so you could argue that a new Sigur Rós record is ‘conventionally
unconventional’.
Here is a blow-by-blow of the tracks:
Ég anda (6:15)
The album is off to a slow and subdued start, setting the atmosphere for an album
that is ultimately... slow and subdued. The song sort of creeps in until Jónsi’s voice
suddenly appears at the three-thirty mark. As is often the case with Sigur Rós, the
vocals are drowned in the music, so discerning lyrical snippets is no mean feat. Sigur Rós’ fans will be taking their time with the task over the next few months.
Overall the track is relaxed and quite beautiful. There are no drums or beats to speak
of (which turns out to be true of almost all the tracks), yet a sort of magical mood is
created. With regards to ‘Með suð í eyrum við spilum endalaust’, it might as well be a
completely different band playing.
Ekki múkk (7:44)
“Ekki múkk” is the first song made public and should be familiar to the fans by now
(it will probably not score a lot of airplay, any more than the album’s other tracks).
This snaps, crackles and pops along, offering some nicely drone-y drones, like a radio
transmission from a distant universe (or a movie soundtrack). Expect to see it in lots
of student film projects and Iceland tourism videos in coming years.
Varúð (6:37)
Vintage-sounding or prepared pianos seem to be a running theme on this
album. “Ekki múkk” effortlessly segues into “Varúð”, which with its undertones of
grandiose symphonic dissonance seems like it would sound wonderful in a space like
Harpa’s Eldborg hall—all reverb and distant orchestra. If you listen really closely you
can even hear vague wafts of Jónsi’s signature violin/ e-bow guitar under there. The
sound of a children’s choir drifts in around halfway through, and some semblance
of drumming even appears (for the first time on the album) which then turns into a
big and powerful build-up that eventually fades out. It’s all very dramatic, somehow
removed from the Sigur Rós of old, yet it is clear that no other band could have done
it.
Rembihnútur (5:05)
The fourth song on the album also happens to be the fourth song in a row that sorts of
drifts into existence, with a few piano plonks and plinks and some harmonious strings
eventually entering the fray. But when you think it’s going to be more of the same,
by god, some bass guitar appears in there! The bass’s melody evokes warm emotion
while a tittering violin dominates the high frequencies.
Just when you think it’s another jam piece, Jónsi’s singing comes in at full force
around three minutes in and the song starts sounding more traditional (more like
a ‘proper tune’) than anything that preceded it. It sounds all kinds of beautiful, with
Jónsi’s lyrics seemingly offering an inspiring message of hope and consolation “I
will survive this. I will start again,” he sings in Icelandic over a rhythm that sounds
vaguely like someone drumming on a table (during class).
Dauðalogn (6:36)
The title of this one means “dead calm”. Some vocal manipulations drag us into
the tune, then Jónsi start’s singing and a peaceful scene is set. “Heimur hljóðlátur,
hreyfist ei hár á höfði” the lyrics go (“A quiet world, not a hair stirs...”), evoking
notions of countryside early mornings just before world awakens. It feels like the
band is yearning for simpler times, free from iPads and distraction. Dramatic and
calm, the track definitely lives up to its name, transforming into a drone before
ultimately fading away into...
Varðeldur (6:08)
...which is also a big droney drone of a song. Some plinks, some plonks, a little Jónsi
falsetto. The melodies on this album are barely discernible at times. But perhaps it
rewards repeated listening. One definitely gets the feeling that the fans will love it.
Just some piano plonking, ma’am.
Valtari (8:19)
This is the album’s longest track. Indeed, it is long and droning and full of minor
chords and it pretty much sounds like the rest of the album. A sad drift. It’s very
distinctly Sigur Rós, but it didn't grab me like I wanted it to? I think I had grown distracted at this point, losing
connection. It is a long album that's maybe best taken in bits (and I will try that later, when I get a copy).
Fjögur píanó (7:50)
This last track starts off with proper piano playing before evolving into a drone.
Needs a closer listen.
As mentioned above, ‘Valtari’ is quite a departure for Sigur Rós’, yet much in the
spirit of the band. Whether this is a good thing is as of yet indeterminable, since the
one thing that can be claimed with any certainty after giving it a once-over is that a
couple of more listens under optimal conditions are needed.
I’ll want some time with this album and a pair of headphones, that’s for sure.
Monday, 9 April 2012
Tuesday, 3 April 2012
Ólafur Arnalds & N. Frahm - Zurich 31.03.2012
Ólafur Arnalds & N. Frahm - Zurich 31.03.2012
An extraordinary concert from two firm favourites here at Victoryrosemusic. The quality isn't great and due to various issues there is a track or two missing. However it was such an amazing performance I thought it worth a post. Think of it as a preview of great things to come! Ólafur talks a lot in this concert which is great to hear as well.
I mainly wanted to draw your attention to Olafur & Nils first collaboration...Please see below :D
[MF] Download
Ólafur Arnalds & Nils Frahm - a1 (teaser) by Erased Tapes
You can play track previews + order here as well
Monday, 26 March 2012
Sunday, 25 March 2012
Sigur Rós - Valtari - New Album! **Updates**
** For latest updates please go to the latest post (click the banner to re-load) **
The Reykjavík Grapevine - Article 26.03.2012
The internet has been bursting with joy and excitement today, as everyone’s favourite non-Björk related Icelandic musical outfit, the mighty Sigur Rós, announced details of their impending sixth studio LP. Due out on May 28, the album is titled ‘Valtari’ (that means “steamroller”) and will feature eight spanking new tracks (the titles of which are all listed below, along with semi-appropriate Icelandic translations).
This reveal was followed by the unveiling of a track from the album. The song is called “Ekki múkk” (“Not a sound”) and the accompanying video is by the lovely Ingibjörg Birgisdóttir, who is a member of Seabear and an accomplished visual artist (along with Lilja Birgisdóttir she created the artwork for Jónsi’s ‘Go’ as well as this issue of Reykjavík Grapevine). Watch the video embed below, it is very fitting to the song and in tune with Sigur Rós’ established aesthetic.
The band first revealed the album title and tracklist in a short interview with UK mag Q, commenting that it was “beautiful”, that it sounded “like an avalanche in slow-motion,” and that its music “just kind of rolls over you. In a good way.” They also note that the album is more electronic than their previous work, while assuring their many fans that they have not made a ‘dance’ record.
It is interesting to note that in the Q interview, the band state that 'the tourists' are the worst thing about Iceland's economic collapse, that there have never been more, due to the failed króna, and that these tourists are the only people that bother the band for autographs. If you are reading this, tourists or potential tourists, do note that Sigur Rós are not fans of giving out autographs. Try to refrain from asking for them. They have politely requested this.
The article furthermore reveals that ‘Valtari’ was recorded at Mosfellsbær’s Sundlaugin Studios and is produced by the band along with Jónsi’s partner Alex Somers.
While the internet was busy coming to terms with all these news, the following statement about the album appeared on Sigur Rós' official website:
"i really can’t remember why we started this record, i no
longer know what we were trying to do back then. i do know session after
session went pear-shaped, we lost focus and almost gave up...did give
up for a while. but then something happened and form started to emerge,
and now i can honestly say that it’s the only sigur rós record i have
listened to for pleasure in my own house after we’ve finished it." -
georg
The tracklist is as follows:
Ég anda
Ekki múkk
Varúð
Rembihnútur
Dauðalogn
Varðeldur
Valtari
Fjögur píanó
Here are our translations of the track names, which we coined using our superior grasp on the Icelandic language:
“I breathe”
“Not a sound”
“Caution”
“A really tight knot that probably can’t be undone”
“Dead calm”
“Campfire”
“Steamroller”
“Four pianos”
Expect more Sigur Rós news, including tour details and stuff, popping up in the near future, in line with proper buzz-cycle procedures.
* Out 28th May
* Name = Valtari
* Produced by Alex Somers
* 8 Tracks in total:
:D :D :D
** For latest updates please go to the latest post (click the banner to re-load) **
The Reykjavík Grapevine - Article 26.03.2012
The internet has been bursting with joy and excitement today, as everyone’s favourite non-Björk related Icelandic musical outfit, the mighty Sigur Rós, announced details of their impending sixth studio LP. Due out on May 28, the album is titled ‘Valtari’ (that means “steamroller”) and will feature eight spanking new tracks (the titles of which are all listed below, along with semi-appropriate Icelandic translations).
This reveal was followed by the unveiling of a track from the album. The song is called “Ekki múkk” (“Not a sound”) and the accompanying video is by the lovely Ingibjörg Birgisdóttir, who is a member of Seabear and an accomplished visual artist (along with Lilja Birgisdóttir she created the artwork for Jónsi’s ‘Go’ as well as this issue of Reykjavík Grapevine). Watch the video embed below, it is very fitting to the song and in tune with Sigur Rós’ established aesthetic.
The band first revealed the album title and tracklist in a short interview with UK mag Q, commenting that it was “beautiful”, that it sounded “like an avalanche in slow-motion,” and that its music “just kind of rolls over you. In a good way.” They also note that the album is more electronic than their previous work, while assuring their many fans that they have not made a ‘dance’ record.
It is interesting to note that in the Q interview, the band state that 'the tourists' are the worst thing about Iceland's economic collapse, that there have never been more, due to the failed króna, and that these tourists are the only people that bother the band for autographs. If you are reading this, tourists or potential tourists, do note that Sigur Rós are not fans of giving out autographs. Try to refrain from asking for them. They have politely requested this.
The article furthermore reveals that ‘Valtari’ was recorded at Mosfellsbær’s Sundlaugin Studios and is produced by the band along with Jónsi’s partner Alex Somers.
While the internet was busy coming to terms with all these news, the following statement about the album appeared on Sigur Rós' official website:
"i really can’t remember why we started this record, i no
longer know what we were trying to do back then. i do know session after
session went pear-shaped, we lost focus and almost gave up...did give
up for a while. but then something happened and form started to emerge,
and now i can honestly say that it’s the only sigur rós record i have
listened to for pleasure in my own house after we’ve finished it." -
georg
The tracklist is as follows:
Ég anda
Ekki múkk
Varúð
Rembihnútur
Dauðalogn
Varðeldur
Valtari
Fjögur píanó
Here are our translations of the track names, which we coined using our superior grasp on the Icelandic language:
“I breathe”
“Not a sound”
“Caution”
“A really tight knot that probably can’t be undone”
“Dead calm”
“Campfire”
“Steamroller”
“Four pianos”
Expect more Sigur Rós news, including tour details and stuff, popping up in the near future, in line with proper buzz-cycle procedures.
* Out 28th May
* Name = Valtari
* Produced by Alex Somers
* 8 Tracks in total:
:D :D :D
** For latest updates please go to the latest post (click the banner to re-load) **
Monday, 19 March 2012
Jonathan Wilson - Private Concert, Télérama 2012
Jonathan Wilson is a new discovery for me. If you have something of the hippy about you, chances are you will love this. Its the kind of music that I feel is sorely missed these days. Jonathan writes songs that perfectly capture the feelings of hope, renewal, and positivity that were heard in a lot of the music that came out of the 60's and early 70's. If I ever get to do a road trip across USA this will be playing as I cross Arizona and head to California (If I got my geography right there!)
Jonathan Wilson, concert privé Télérama by telerama
1. Desert Raven
2. Rolling Universe
3. Ballad Of The Pines
These songs are taken from his new album 'Gentle Spirit' - Such a beautiful album :)
d/d Vid
mp3
www
Jonathan Wilson, concert privé Télérama by telerama
1. Desert Raven
2. Rolling Universe
3. Ballad Of The Pines
These songs are taken from his new album 'Gentle Spirit' - Such a beautiful album :)
d/d Vid
mp3
www
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