Edward Hancox's Blog, page 7

Airwaves ’14 – Day 1. Boy Wonder.

I spent most of the set either peering round the doorway of Kex, jammed in like an Icelandic mackerel, but Kiasmos are the first big deal of Airwaves.

The side project and dance outlet of Ólafur Arnalds and Janus Rasmussen provides a platform for both lads to show what can be achieved by pairing intelligence and dance music. That, and Ólafur really knows how to work his iPad. They produce amazing intricate yet easily danceable music that has everyone bobbing their head. Excluding me of course, I don’t have room.

Axel Flóvent from the distant northern fishing outpost of Húsavík looks like a lost Mumford & Son, complete with checked shirt, braces and battered shoes. He sings like one too, belting out his own brand of modern folk, and accompanied by a maudlin violin. He is at a Lucky Records, which is apt.

Halfway through, something wonderful happens:several Icelandic families with young children arrive. The children sit on the floor at Axel’s feet. Like the rest of us they are in awe of his clear talent. At only 19, he is one to watch. In every sense.

It’s back to Kex for Soléy, who provides a short, but wonderful set of four entirely new songs. Picking up where her first album left off, the songs have the signature Soléy traits—the sampling, krútt vocals and sparse keyboard but are now accompanied by outlandish stories of one-eyed women and people being buried alive in Brazil. No, really. In addition, her band now bolsters her sound, providing a richness that counteracts her lo-fi tendencies. Beautiful stuff.

Later on, Mr. Silla performs at Harpa alone for the first three songs, save for a box of electronic wizardry, and in darkness except for a dim purple haze. The effect is extraordinary, with all senses focusing on her voice. The trio of songs all have electronica running through them, which makes the fourth—‘One Step’—a raw, simple ballad performed with her guitarist surprisingly beautiful. We’re back to the electronics for the remainder of the set, but they are catchy as hell. Really good stuff from Sigurlaug Gísladóttir who has spent far too long in the shadows of others.

Kippi Kaninus is next up. Essentially a sound system of seven, with added trumpets and trombone, they fail to impress. Six of them are playing along with a man and his laptop. They are fine, but that’s about it.

The star of the night is Ásgeir. He plays at one of the Harpa venues that is already suffering from the effects of overcrowding. I haven’t seen him in a while, and he’s come a long, long way since I saw him perform in a bar one afternoon at Airwaves ’12. The album has gone global, in no small way due to John Grant, awards have been won and Ásgeir has graced stages the world over. It shows. Accompanied by a full string and brass section, and his band, Ásgeir assumes the position of quiet confidence. He lets the songs speak for themselves. Anything from In The Silence/Dýrð í dauðaþögn sounds sublime played out in such widescreen settings, with King & Cross and Torrent being taken to particularly new heights. All songs are performed in Icelandic. A couple of new songs are thrown in for good measure.

Homecoming hero Ásgeir never says more that a rushed ‘takk fyrir’ but has the wry smile of someone who knows they are onto to something good. It’s wonderful and I can’t help think that I’ve seen the best performance of the festival already, on the first night. I think about catching the next plane home.

I don’t, of course, and catch some of Lay Low’s blues next door instead. It’s fine, and I’m a huge fan of a Lay Low but this doesn’t exactly set the world alight. She is, unfortunately, too much in the shadow of what’s just happened, and performing to an unforgiving large, square box, rather than an atmospheric smoky bar where she would be much more suited.

I settle on stuffing a pylsur in my mouth, look at the queues for Ghostdigital and FM Belfast in disdain, and decide that I’ll head back for the night. I’m safe in the knowledge that I’ve already seen Airwaves best performance of the year. Maybe.

Originally published by Iceland Review online.

Greenland Eyes – Samaris & Nive Nielsen and the deer children

It is the night before Iceland Airwaves festival starts. Reykjavík is already swarming with festival goers. It’s not clear if tonight was planned so that as the Greenland Eyes Film Festival concludes just as Airwaves kicks off, or if this is just good luck.

Greenland Eyes International Film Festival is the largest biennial festival focusing on Greenland. The festival is touring the Nordic region with stops in Greenland, Denmark, Sweden, Norway, Iceland, Finland and the Faroe Islands. Featuring more than 30 films made in Greenland by Greenlanders as well as other nationalities, the festival encompasses features, documentaries, shorts, music videos and historical portraits and screenings are followed by expert moderated Q&As. This is the end of the Icelandic leg, and is celebrated at the Nordic House to a packed out crowd.

Samaris are announced here as “local heros” and deservedly so; their success over the past few months is truly deserved and a result of their smart beats and clever electronics, paired with unusual vocals and even more unusual clarinet.

The first few tracks misfire though, with Þórður seeming disinterested and Áslaug clutching her clarinet somewhat bizarrely like a precious toy firearm.The usual sequins and outlandish dress are also missing. A slower selection of their music doesn’t grab the crowd initially, and is played over sometimes unsettling images of Greenlandic themes.

After a while, the hushed, echoed vocals of Jófríður start to worm their way through. A joke is cracked on stage. The beats quicken, and the band visibly relax. The last few tracks are real winners, especially the one introduced as ‘Ravens.’ Samaris are clearly treating this as a warm up for Airwaves. We probably should too. Later on in the week, probably in a later time slot with added beer, Samaris are going to be going full pace.

Nive Nielsen is a revelation. Appearing with her “deer children” backing band, she walked onto the stage with a minimum of fuss and started singing country/folk tinged songs, with a pure, strong voice. The majority of songs were sung in English, but her voice in Greenlandic was equally as striking, if not more so.

Nive hails from Nuuk She says that the first concert she ever played was for the Queen of Denmark on national television and she has apparently acted in a movie alongside Colin Farrell. Nive states that she writes songs about love and reindeer and forgetting to make coffee, and calls them “snow songs” or “Inuit indie,” which is kind of cute.

A multitude of technical failures, including faulty monitors, drooping mics and a restart for one song did not throw Nive one bit. She continued to smile throughout. The Deer Children provided a solid Americana back drop, but you get the feeling the Nive could dispense with their services at any point and just revert to her and her ukulele. If this is what Inuit Indie is like, I need to hear more.

Originally published on Iceland Review online.

ÍRiS at Iceland Airwaves ’14

There’s this theory that everyone in Iceland is creating something. Everyone is a writer, a musician, an artist, or a yarn-bomber. The theory goes that this is due to Iceland’s long, dark winters with creativity providing both a means of killing time, and keeping the spirits high.

Nowhere is this more apparent than at Iceland Airwaves, where every conceivable space in Reykjavík is filled with music. Even Bæjarins beztu pylsur—essentially a hotdog stand—is hosting bands this year.

That said, ÍRiS might just be one of Iceland’s most underrated singer/songwriters. Having released her debut album in 2013 to little fanfare, she is determined to grab your attention at this year’s Iceland Airwaves. Starting with an unbelievable ten concerts in five days.

ÍRiS produces sultry, sophisticated fare with intense, elegant vocals layered over strings and piano. Her jazz beginnings occasionally show through, but this isn’t always a bad thing. Trust me.

I spoke with her to find out a bit more about what she has planned:

You are playing ten concerts at this year’s Airwaves. Are you mad?

Frankly, I am leaning towards… yes! They kept piling up and a five-day music fiesta is simply too good to pass. I’m not sure what I have got myself into. I guess I’ll find out soon enough as I get mixed up in this delightful chaos.

Do you enjoy playing Airwaves?

Absolutely, although I’ve never done this type of music-marathon before. Airwaves transforms the city in my opinion, and I myself am a regular. Both behind the mic and of course in the audience. There is just such a vibrant atmosphere wherever you go and so much to see. I am certainly counting the days.

You’ve played in some strange locations recently, a ship, for example, and Airwaves lends itself to concerts in places such as swimming pools and shops. Are any crazy plans afoot?

Yes, the ship concert was at the Herring Era Museum in Siglufjörður in the north of Iceland. That was a fun experience! Try placing a drum set and a full-size harp on a sloping surface, on an antique fishing boat… whilst trying to look professional! There are no boat or swimming pool venues for me this year at Airwaves, but record shops, bars, cafés, hotels—you name it. I’ll be there!

What is your advice for a first-timer at Airwaves?

A lot has changed since my first Airwaves. With the increased number of guests I’d say planning the planning is the way to go. Don ’t waste your time in the line—get there early. Also, don’t forget to check out the off-venue program which has truly become another festival in itself. There you can often find more intimate concerts with the artists you favor. There is no ‘wall’ between the performer and the audience.

Penumbra was released in late 2013. It’s a great album. Would it be cheeky to ask whether there is any new music on the way?

The first sounds of the second album are beginning the see the light of day in my attic studio. I am very excited about the new influences I’m adding to my little world. I learned so much from the process of my debut album, and that has created this new path. It won’t be published ‘tomorrow’ but you might begin to hear some hints in the coming weeks. If you want to catch me live, have a look at irismusiciris.com or my Facebook page, where I’ll be sure to release my Airwaves schedule in the coming days.

Originally published on Iceland Review Online.

14 artists for Iceland Airwaves ’14

Iceland Airwaves is nearly upon us. Despite its descent further into the winter months (I’m sure it used to be earlier in October), and the risk of a sulfurous fog overwhelming everything, excitement is building. Yes, the off-venue schedule is going to be crazy, Wayne Coyne from The Flaming Lips will probably be crazier, and you will at some point end up drunk in a hotpot with a bunch of Icelanders. But who to see? Let me give you 14 suggestions.

14. Sísý Ey

This is the project of sisters Elín, Elisabet and Sigríður Eyþórsdóttir with producer Oculus on board to provide house beats, over which the sisters provide sumptuous vocals. On the verge of something huge, this dance act are about to release their debut album but not before they’ve proven themselves to be Airwaves late night band of choice.

13. Lily the Kid

Actually Lilja K. Jónsdóttir, a singer/songwriter and her producer/brother Hallur Jónsson, Lilja was formerly the front woman of the well known Bloodgroup. This is breathy, intimate vocals over Nordic electro pop if Pedro is anything to go by. Worth seeking out.

12. Low Roar

Once just Ryan Karazija and his guitar/laptop, Low Roar have gained a number of band members, a stage presence and following to match. Aided by Mike Lindsay from Tuung, Mr. Silla, and various members of Amiina, Low Roar have a lush, deep sound revolving around Ryan’s fragile folk songs but are clearly not afraid of electronics, looping or occasionally breaking into dance.

11. Vök

A trio of talented musicians including a saxophonist, Vök sound so Icelandic, if that’s possible, whilst at the same time falling between The XX & Portishead, with a helping of slow R&B. Vök are both enigmatic and sexy, as latest single ‘Tension’ proves. If you go alone, expect to make new friends.

10. Bird

Not actually a bird, but Jón Valur Guðmundsson, a 26-year-old singer/songwriter from Reykjavík, who has taken the moniker ‘bird’ for his new music project. Described as “catchy, lush melancholia, and minimalistic arrangements” this chap definitely shares similarities with Ásgeir, who he has previously worked with. Add your own ‘bird’ joke here. Does he use Twitter? Soaring melodies etc….

9. Yumi Zouma

From the opposite side of the world, New Zealand’s Yumi Zouma produce pop loveliness that delivers like Empire of the Sun without all the bombast. Catchy melodies and seductive vocals that are both fresh and retro. They’ve made the journey to get here. The least you can do is to go see them.

8. Sóley

After being away for a while, then returning with a puzzling muted EP, Sóley is due a return to form. Promising tracks from her new album, the First Lady of krútt is bound to impress with her quirky piano pop, especially as she is performing at Fríkirkjan. Can you think of a better way to spend an evening?

7. East India Youth

The only entry on my list from my native U.K., Mr. William Doyle aka East India Youth presents a side of British music that didn’t from a talent contest or a panel of suited executives. Named after East India docks in London, this is clever, intellectual dance music with occasional floaty vocals and smart samples. Oh, and Hinterland might just blow your mind.

6. Farao

Farao is Norwegian songstress Kari Jahnsen, although Kari might have well and truly been bitten by the Icelandic bug. Heavily influenced by the Icelandic music scene, Farao produces delightful, experimental electronic folk not a million miles away from Jónsi’s quieter moments or even Pascal Pinon.

5. Young Karin

Young Karin (formerly known as Highlands) are Logi Pedro Stefánsson from Retro Stefson and the very talented Karin Sveinsdóttir. Ignore the contractual based name-change, Young Karin are ready formed, ready to take on the dance floors of Reykjavík, and seemingly, my headphones.

4. Samaris

The current darlings of the Icelandic music scene are just about to embark on a Europe wide tour. They are very much on form, if their ATP performance earlier in the year is anything to go on. Ignore the hype and see for yourself this intriguing mix of Jófríður’s vocals, clarinet (no, really!) and mixed up beats.

3. Ásgeir

Iceland’s favorite son returns home after seemingly playing every country in the world over the last year. Standing the test is debut album In the Silence which despite the repeated plays (in both languages) only seems to mature and grow with each listen. Expect a cameo appearance from partner in crime John Grant.

2. Future Islands

Future Islands have actually been around for a while, but have only recent caught the attention of many, partly due to the peculiar dancing habits of frontman Samuel T. Herring, who come across like a drunken dad crossed with an earnest Morrissey. The songs stand alone though, with keyboard and guitars providing the perfect foil for songs of the heart.

1. Rökkurró

Like old friends, Rökkurró have been around for a while. This time though it’s different. After over a year of teasing (singles, limited edition releases, photos of the band eating ice cream) Hildur and crew are poised to make Airwaves 2014 their own. With a brand new album due for release the week before, and a closing show on Sunday, Rökkurró are strategically getting their lush, melodic music into the hearts of everyone, anywhere.

Originally published on Iceland Review online.

Bird

Not actually a bird, but Jón Valur Guðmundsson – a 26-year-old singer/songwriter from Reykjavík, who has taken the moniker ‘bird’ for his new music project. Described as “catchy, lush melancholia, and minimalistic arrangements” this chap definitely shares similarities with Ásgeir, who he has previously worked with. Speaking of work, Jón Valur has also grafted as a sound-engineer for the Icelandic grand-masters of reggae, Hjálmar, over the last few years.

With such direct influences, it’s no wonder that his music is getting attention in Iceland. He’s already been picked up by national radio, despite having only a Facebook page and a website to release music from. I was going to glibly use some punning phrase here – bound to be flying high?! – but it’s really not necessary.

How would you describe your music?

Someone described it as electro-infused indie pop and I think I can agree to that.

Why are you called ‘bird’?

The name bird comes mainly from my second name, Valur, which in direct English translates as gyrfalcon – a type of bird. I’ve always been very fond of birds as symbols and when I was abroad I joked around and started introducing myself as Johnny Falcon to make my middle name easier, so when I started to think of an artist name I immediately thought it would be best to stay somewhat related to my birth name. I even have two older brothers with the Icelandic translation of Hawk and Eagle in their names.

Your first single ‘go back’ was quickly picked up by Icelandic radio stations, despite you having no record label. Were you surprised by this?

Yes, I was very surprised, I just released it on my Facebook page and somehow it got picked up pretty quickly.



Are you planning to release an album?

Yes, I’ve been writing a lot of songs the past 10 years and never released an album so there is a whole bunch of material laying around that I’ve been going through and re-composing them. But mainly I find myself always writing newer songs so in the end the old songs might not even make the cut (haha). However, I am planning on releasing an album early next year.

You’ve drawn comparisons with Ásgeir, would you agree with this?

Not quite. Although, I have been playing around with synthesizers for the first time, like he does, so maybe that’s where this is coming from. I think our voices and our sound are very different, but I actually worked with Ásgeir’s project for over a year so I’m not surprised if that is reflected in my music somehow. Ásgeir is a talented musician and a great songwriter so I have nothing against it if some people are drawing comparisons with him.

What are your plans for Airwaves?

I’ve put together a band to play with me on Iceland Airwaves. We are only playing one on-venue gig, on Wednesday, November 4, at Frederiksen Ale House. Then, we are playing two off-venue gigs, on Thursday at Bunk bar at 5:20 pm and then at Hotel Alda on Friday at 4 pm. It’s going to be a blast and I am really looking forward to it!

For further information, see bird.is.

Originally published on Iceland Review Online.

Bookshop party with a hint of Iceland & Tiny Leaves

A little slice of Reykjavik is about to land in Much Wenlock, Shropshire to celebrate the towns’ award winning bookshop, Wenlock Books, as part of national campaign ‘Books Are My Bag’ to promote independent bookshops. I’ve teamed up with an acclaimed composer (and a friend of mine) to provide a day of music and excitement at the bookshop.

On Saturday 11th October, I’ve promised book signings of Iceland, Defrosted, a chance to sample Icelandic delicacies and a few surprises.

In addition, local artist Tiny Leaves will be performing a short set. Tiny Leaves is the music of composer Joel Nathaniel Pike. Pike began developing his solo indie-classical music whilst in other bands and launched his first EP in 2012.

His debut album ‘A Good Land, An Excellent Land’ was released to critical acclaim in June 2013. The album evokes a journey, and is at times sensitive, delicate and intense. It is led mostly by piano, while strings and guitars weave in and out of the melody, complementing its sound. Tracks from the album were featured by BBC6Music, with special attention as their ‘headphones moment’ on Lauren Laverne’s show and again as their MPFree.

BOOKS ARE MY BAG is a nationwide campaign to celebrate bookshops. This collaboration between publishers, bookshops and authors and is the biggest ever promotion of bookshops. For many people bookshops conjure fond images of book readings, in-store cafes and delight at the discovery of a new author. In fact, 56% of all book buying decisions are made by consumers in a bookshop and high street bookshops (both chains and independents) still account for almost 40% of books bought by consumers. Yet, many high street bookshops are under threat.

Free entry. Starts at 11am (bookshop open all day).

5 sparkly new Icelandic acts

FURA

I love festivals, but I love festivals in Iceland more. Iceland Airwaves is fast approaching, and there is nothing like perusing the schedule, figuring who to see and when, and discovering new artists.

Here is a list of five from my list, to add to yours. Some may sound familiar, others are brand new out of the box. All deserve further investigation.

Lily the Kid

Who? Actually Lilja K. Jónsdóttir, a singer/songwriter and her producer brother Hallur Jónsson, Lilja was formerly the front woman of the well known Bloodgroup. This is breathy, intimate vocals over Nordic electro pop if Pedro is anything to go by. Worth seeking out.

FURA

Who? Fura is a collaboration between the songstress Björt Sigfinnsdóttir and the producer duo Hallur Jónsson (again, busy lad!) and Janus Rasmussen. From humble beginnings as record store workers – which I can relate to – they now produce late night electronica and stunning vocals from the Eastern reaches of Seyðisfjörður.

Bird

Who? Not actually a bird, but Jon Valur Gudmundsson – a 26-year-old singer/songwriter from Reykjavik. Described as ‘catchy, lush melancholia, and minimalistic arrangements’ this chap definitely shares similarities with Ásgeir, who he has previously worked with. Speaking of work, Jón Valur has also grafted as a sound-engineer for the Icelandic grand-masters of reggae, hjálmar, over the last few years.

Young Karin

Who? Young Karin (formerly known as Highlands) are Logi Pedro Stefánsson from Retro Stefson and the very talented Karin Sveinsdóttir. Ignore the contractual based name-change, Young Karin are ready formed, ready to take on the dance floors of Reykjavík, and seemingly, my headphones.

Their debut album is a stormer; It starts with the swirling Berlin, all hectic beats, buzzing bass and that wonderful ‘la la la’ refrain. Hearts is Young Karin’s calling card; a standout track consisting of Karin’s sumptuous vocals being looped, lovely chiming and old fashioned story of love.

Mr. Silla

Ok, ok, so not ‘new’, Sigurlaug Gísladóttir, is very well known also for her work with Múm, Snorri Helgasson, Mice Parade and Low Roar. She has a truly wondrous voice, and it’s easy to see why she’s in huge demand. However, she has promised a solo show, ahead of her brand new debut solo album. I can’t wait. Actually, I clearly can, but it’s been far too long.

Training Dragons in Iceland

I went to see How To Train Your Dragon 2 yesterday, with one of my girls. Not only had I forgotten that Jonsí had written a song for the soundtrack – Where No One Goes – but I was struck by how much Icelandic imagery featured throughout the film. No doubt influenced by writer/director Dean DeBlois, who had worked with Jonsí on Heima and Go Quiet, the new dragon lair features geometric basalt columns, dark systems of caves, iceberg festooned lagoons and tumbling waterfalls. Remind you of anywhere?

Books & Badgers

I love bookshops. I think it stems from those years working in a record shop, which I also love, but are even harder to find these days. It’s something to do with the browsing, the choice, the options. It’s about making a discovery. Bookshops often have a more calming air about them, and less greasy teenagers looking for the latest Vamps album.

My favourite bookshop is also the one nearest to me. I’ve known about it for a good long while – it’s been there for decades – but over the past few years, I’ve really become acquainted with it. Wenlock Books is special.

Today, for example, I popped in to drop off a new batch of ID for the owner, Anna. Nothing unusual in this – Anna has been hugely supportive of the book since it’s publication and we hosted a launch party together at the bookshop, cramming it’s book laden alleys and nooks with people trying Brennivín for their first time and generally celebrating all things bookish. Anna often asks for more stock – I suspect she really pushes the book on unsuspecting customers, for which I’m hugely grateful.

On arriving, Anna quickly introduces me to a rep in the shop, who stops what he is doing to have a look at my book (he likes the look of it, it feels ‘weighty’) and discuss authors who write in a similar vein to me. We discuss the new Chris Yates book (which I adore), Dip by Andrew Fusek Peters (wonderful) and anything by Robert Macfarlane (but of course!).

Anna dips in and out of the conversation, serving customers with wedding cards and others with armfuls of books. The rep confides in me that Anna is what they call ‘a proper bookseller’. I can’t help but agree.

The problem – if you can call it that – with delivering stock to Wenlock Books is that I am bound to browse. And browse I do. Anna has a knack of sorting out titles that are not necessarily mainstream, but deserving of attention and designed to grab your interest. She is an avid reader, which I suppose is helpful in this trade, and she seldom sells a book she hasn’t personally read or had recommended to her. I’m drawn to a copy of Badgerlands by Patrick Barkham, partly because it’s topical, partly because I love reading about wildlife and partly, in all honesty, it has a cute badger on the cover.

I lose myself in the books, hopping from subject to subject. I toy with buying this and that, looking at Crime, Cookery and checking out my rivals in the Travel section. Matt Sewell’s illustrated birds watch my every move, and I stop to admire the woodcarvings in the beams that you need to know where to find, but once you do, you’ll be enchanted by them too.

Back at the counter, the rep confirms I have made a good choice, and Anna introduces me to a customer who has previously bought and read my book. The customer is full of praise, and I’m slightly embarrassed – not only did Anna call me an ‘author’ (ha, as if I’d ever consider myself to be an author!), but the customer – a lady in her late fifties – is telling me just how much she and her husband enjoyed the book, which turns out to be quite a lot. I don’t quite know where to put myself. I am genuinely delighted though, and tell her so. I also tell her that there will be a follow up, sometime. One day.

Anna, the rep and I chat a while about self-publishing, the local newsagent making a trip to Iceland (I joke that I won’t give him any advice until he buys a copy) and then I leave, clutching my copy of Badgerlands and with a wide smile on my face. Wenlock Books is special.

Who the hell are Hugar?

Hugar are Bergur Þórisson and Pétur Jónsson, two 20-year-old guys from Seltjarnarnes, just outside Reykjavík, Iceland. Their paths didn’t really cross until Bergur and a funk band he had formed started looking for a guitar player and found Pétur. It wasn’t until early 2012 that they started working on what would become Hugar. Add access to a friend’s private recording studio, a drumming cameo from Ólafur Arnalds, a freshly-released album and Hugar were born.

Bergur tells us a little more about Hugar.

How would you describe your music?

It’s actually pretty difficult as it probably doesn’t fit into a pre-existing genre. Ólafur Arnalds described it as post-rock/neo-classical but really, it differs from song to song. Ambient, instrumental, alternative, experimental, post-rock and neo-classical would probably all work for explaining what it is but after all I think people just need to listen and judge for themselves.

I really love your album. It reminds me of A Winged Victim for a The Sullen. What were you influences when making it?

Well, we come from pretty different backgrounds in music. Bergur is originally a jazz trombone player and Pétur is originally a rock guitar player. So influences are many and the mixture was a little complicated to figure out at first but just to name a few: Ryuichi Sakamoto, Nils Frahm, Sigur Rós, Ólafur Arnalds, J.S. Bach, Bob Dylan, Pink Floyd and AC/DC.

What does Hugar mean?

The Icelandic word Hugar actually means minds. It took as a very long time to find a name that both of us could live with but in the end we decided that Hugar was the one to go with because the music is in some ways an extract from our minds mixed together.

It features Ólafur Arnalds on drums. How did that occur?

Well Bergur has been working with Ólafur for a while. Both on the award-winning TV series Broadchurch as well as touring with him in his live band. For our demos we had already created some electronic drums but when we had finished everything else, the electronic drums just didn’t feel right for a few tracks so we decided to go ahead and record some drums. We thought about who should be the drummer for a while but all of a sudden we remembered that Ólafur’s career started in drumming, playing in a few different metal bands so we thought we might as well try him. Needless to say he was actually a great drummer and brought in a few new ideas !

Is he different now that he is officially “award winning”?!

Him being different is probably not the right way to describe it but the jobs and offers he’s getting are definitely different. Also I think the ticket sales to the live shows are slowly jumping to a new level and the gigs are getting bigger and bigger. However, Ólafur is a pretty down-to-earth kind of guy so he’s totally chill about this whole thing.

What’s next for Hugar?

Following our release we’ve received a bunch of emails from people that want to work with us in one way or another so currently we are just looking at what we’ve got and what we’re going to do with it. We are also planning a release concert here in Iceland but it’s turning out to be a little more difficult than we expected because the arrangements on the record are a little too complicated for a live band if we are not doing a show with a full orchestra and 15 guitar players on stage.

We will figure it out, though, and make new, possibly more intimate arrangements of the songs, possibly get rid of some and write some new ones. Our hope is that this will be ready in September so we can have our release concert in the middle of September. After that, the future is still undecided but we’d love to play a few shows around the world so maybe that’s the direction we will take.

What’s the best way to listen to your music?

We have received emails and messages from a lot of people about this topic and people seem to love listening to it while walking around big cities like London and New York but also quite a few designers and artists have contacted us to tell us that they love to listen to our music while working. Personally, we think that is works best as a whole, being listened to all the way through, but people should do it anyway they like. The most important thing to us after all is that people enjoy it.

Originally published in Iceland Review online.