YouTube short video footages:
Protect your language Number 2
AB Club Staand
Prijs: € 10.00 VVK – € 10.00 Kassa
Donderdag 12 apr 2007 19:00
BEDROOM COMMUNITY presents VALGEIR SIGURÐSSON + NICO MUHLY + BEN FROST
Het kersverse IJslandse label BEDROOM COMMUNITY werd amper een jaar geleden opgericht en fungeert als een collectief van like minded, maar individueel danig van elkaar verschillende artiesten. Beschouw het als een nieuwe music community ongeacht het land van afkomst of muzikale leefwereld. Experimentele muziek, klassiek en elektronica staan naadloos naast elkaar of treden in het huwelijk. Op basis van de eerst twee releases (BEN FROST en NICO MUHLY) zijn we alvast meteen fan. Labeleigenaar VALGEIR SIGURÐSSON runt tevens de befaamde Greenhouse Studios (cfr. Björk, CocoRosie, Bonnie ‘Prince’ Billy,…) en brengt dit jaar tevens zijn debuut uit. Wij waren alvast onder de indruk van hun labelnight op het Iceland Airwaves-festival in Reykjavik afgelopen jaar.
Deze avond is mede mogelijk gemaakt dankzij Icelandair.
19.00u SOUNDTRACK BY… DIRK STEENHAUT
Muziekjournalist (De Morgen) en IJsland-adept. Vertaalt zijn liefde voor Ijslandse muziek via de draaitafels en recenseert tegelijkertijd het concert. Multitasking: het is weinig mannen gegeven!
19.00u ROOM WITH A VIEW: KILL YOUR IDOLS (’04 – 65 min. – director: Scott Crary)
Een overzicht van 30 jaar New Yorkse underground postpunk. Van DNA en TEENAGE JESUS & THE JERKS over SONIC YOUTH en THE SWANS tot BLACK DICE, LIARS en YEAH YEAH YEAHS.
20.00u BEN FROST- (Aus.)
BEN FROST woont in IJsland, maar is geboren in Australië. Hij werkt nauw samen met Valgeir Sigurðsson, schreef reeds werk voor film en dans en bracht in het verleden al een paar albums uit. Bedroom Community’s tweede album staat op zijn naam: ‘Theory Of Machines’. Een album dat lonkt naar de elektronica van Fennesz maar ook naar pakweg het industriële van Einstürzende Neubauten. Zelfs de invloed van The Swans is duidelijk zoals hij zelf aangeeft in het nummer ‘We Love You Michael Gira’ waarin hij overigens een Swans’ song sampled.
21.00u NICO MUHLY (us)
De Amerikaan NICO MUHLY is geen onbekende. Hij werkte reeds samen met
Antony (van Antony and the Johnsons) en Philip Glass (met wie hij reeds verscheidene malen stage works & filmscores gecomponeerd heeft). Hij was te horen op Björk’s album ‘Medúlla’ en hielp haar om de score te arrangeren voor Matthew Barney’s film ‘Drawing Restraint 9’. Ook arrangeerde hij de strijkers op ‘The Letting Go’ van Bonnie ‘Prince’ Billy. Zijn Bedroom Community-debuut luistert naar de naam ‘Speaks Volumes’ en intrigeert danig. Donkere strijkers strijken tegen elektronica aan. De medewerking van Antony fleurt het geheel op.
22.00u VALGEIR SIGURÐSSON (IJsl.)
Producer en muzikant VALGEIR SIGURÐSSON heeft het afgelopen decennium een flinke duit in het zakje gedaan om de muziekscène in IJsland mee helpen te ontwikkelen. Sinds ’97 runt hij zijn inmiddels befaamde Greenhouse Studios en nam hij er knappe albums op van o.a. Björk (zijn eerste samenwerking met haar dateert trouwens van de soundtrack ‘Dancer In The Dark’ uit ’00), Sigur Rós, Múm, CocoRosie (hun te verschijnen album) en Bonnie ‘Prince’ Billy. Hij runt eveneens het Bedroom Community label en zal in de toekomst ook als recording artist naar buiten treden. Zijn eerste plaat ‘Ekvílibríum’ wordt dit voorjaar verwacht. Opnemen heeft hij net gedaan met Bonnie ‘Prince’ Billie in Egypte. Wij zijn razend benieuwd naar het resultaat. Op Iceland Airwaves zagen we reeds een indrukwekkende set van hem.
There is a lot of anticipation for the new Björk album, Volta. Industry insiders Pitchfork magazine is all over a few lousy video clips that have been leaked from the pre-release party the other night. For hardcore Björk fans, this might give some indication of what to expect.
Bjork Trickling Out Volta Teasers
Anyone fond of those Kid A blinking bear bits that MTV played back in the day might get a kick out of this. In anticipation of Volta’s May 8 unveiling (May 7 overseas; both via One Little Indian/Atlantic), someone from camp Björk is posting little teaser videos and sound clips on the interweb that contain music and lyrics from the album, as confirmed by a Björk spökesperson.
As reported on Seattle weekly The Stranger’s Line Out music blog, a YouTube user called “VoltaVideos” posted a clip called “Earth Intruders“– also the name of the first single from Volta– a couple days back. It features some abstract, pulsating images, some music that might be construed as the “universal tribal beat” Björk recently discussed with Pitchfork, and the closing text, “we are the earth intruders.”
Not long after that, web-trollers stumbled upon a mysterious MySpace profile belonging to one Gerome Voltaire of “itshardtofindabandname” from Iceland. The page includes four audio clips, each clocking in under 20 seconds: “Thereza Is He”, “Denoisering”, and the identical, percussion-heavy “O Is for All Ages” and “Oh It Is”.
The MySpace also includes two videos similar to the “Earth Intruders” clip. One titled “V” depicts a jittery, out-of-focus image that bears striking resemblance to that colorful flaming Björk photo up there. It includes the words, “did I imagine it would be like this?”, set against a lush, ambient track that’s soon invaded by light percussion.
A second MySpace video, titled “o”, features the same tribal drumming audio as the “O” and “Oh” clips and depicts the statement, “I have been filled with steam/ for months/ for years” atop what appears to be a close-up of another Björk photo.
“What I’m presenting here at the moment,” writes the enigmatic Gerome on his MySpace, “is something I recorded at some listening session in Reykjavik with an Icelandic artist, which I then cut up and added noises and images to. I hope she doesn’t mind.” We’d wager that she probably doesn’t.
Assorted videos in the same vein have since appeared on YouTube, including a clip titled “save?” that one might interpret as addressing the heated topic of abstinence: “should I save myself for later/ or generously give?”
So do Timbaland or any of Volta’s other guest stars factor into any of these? Your guess is as good as mine. Either way, the rich, relatively organic-sounding (by Björk’s standards) tidbits of sound here have us pretty durn stoked.
Catch Björk’s stage spectacle, intruding on an Earth venue near you soon.
1. “Earth Intruders”
3. “a powerful drug”
4. “celebrate now”
01 Reykjavik, Iceland – Forma @ Nasa
27 Indio, CA – Empire Polo Field (Coachella)
02 New York, NY – Radio City Music Hall
05 New York, NY – United Palace Theater
08 New York, NY – Apollo Theater
12 Chicago, IL – Auditorium Theatre
15 Denver, CO – Red Rocks Amphitheatre
19 San Francisco, CA – Shoreline Amphitheatre
23 Vancouver, British Columbia – Deer Lake Park
26 Gorge, WA – Gorge Amphitheatre (Sasquatch!)
22 Pilton, England – Glastonbury Festival
28 Werchter, Belgium – Rock Werchter
01 Gdynia, Poland – Open’er Festival
05 Roskilde, Denmark – Roskilde Festival
25 Nyon, Switzerland – Paleo Festival
08 Toronto, Ontario – Virgin Festival
Of Björk and Iceland’s Image
by HEH (March 2007)
My mom told me the other day over breakfast that Björk is about to release a new album called Volta. While enjoying her morning coffee she wondered whether she should buy the album.
I already knew she wasn’t going to buy it. She never does. In fact there isn’t a single album by Björk in my parent’s house. But every time she releases a new album, my mom and dad wonder whether they should buy it.
My parents, like almost every Icelander, love Björk. They never listen to her music, except for some old hits, but they just love her.
Björk is one of the most precious parts of Iceland. She is a national treasure herself, as well as our glaciers, highlands and sagas. This former punk singer has a special place in every Icelander’s heart.
She is the first, and so far the best known Icelandic international star in the entertainment industry. That has made her become a big part of Iceland’s image. Most people in the world hardly knew Iceland existed before Björk came along. Now more people know of our tiny island far up north.
Björk has created an image for herself that is very suitable for Iceland. Her artsy looks and manners contribute to a character full of mystique, just like her songs. Being mysterious means being exciting, and of course, Icelanders want to look like an exciting nation in the eyes of the rest of the world.
So, we here in Iceland love her. We are very proud of her. She has won Grammys, Brit awards and was nominated for an Oscar.
She never forgets where she comes from. Her lyrics and videos are usually strongly linked to Iceland. Her Icelandic pronunciation of English words reminds the world that she is not from the US or the UK. (She speaks perfect English, though. This way of pronunciation is just for commercial use.)
On top of that, she appears to bee one of the “good” guys in the entertainment industry. She doesn’t do drugs (that we know of), she doesn’t go partying without underpants and she doesn’t have any bizarre personal preferences like kaballah, adopting masses of children from the third world or similar.
So, to Icelanders, Björk is a milestone in both culture and the image we like to have of ourselves. Her music, however, is a different matter.
Her albums always get great reviews in Icelandic newspapers, of course, but I’d say most Icelanders don’t really care about the musician Björk. Her music is a minor thing to us; it is experimental and hard to listen to. Björk isn’t exactly a sing-along musician.
My parents’ attitude towards Björk represents the attitude most Icelanders have towards her, I think. They somehow manage to love the artist without caring about the art itself.
Source: Iceland Review
by Sveinn Birkir Björnsson of Grapevine Magazine
hosted an exclusive party last night when members of the media were invited to enjoy the worldwide debut of Björk´s new album, Volta, sceduled for release on May 7. Naturally, your Grapevine representitive was in attendance, and here is what you can expect from the upcoming album. It is a quintessential Björk album, full of quirckyness, certain to be devoured by Björk fans worldwide. Featuring ten songs and clocking in at 50 minutes, the album contains a long list of distingushed guest artist, such as: Timbaland, Mark Bell from LFO, Konono n°1, Antony Hegarty from Antony and the Johnsons, Toumani Diabate, Min Xiao-Fen, Chris Corsano and Brian Chippendale from Lightning Bolt. Björk will embark on a worldwide tour in support of Volta, her sixth studio album, with stops at various big music festivals such as Coachella and Roskilde. The tour will kick off in Iceland on April 9, with tickets available from www.midi.is.
Song of the 3. Week: Plastic Lions by Eberg
EBERG – Plastic Lions Video
The Independent CD Review of the Album by Eberg
Voff Voff (2006), INSTANT KARMA
21 April 2006
Einar “Eberg” Tonsberg’s 2004 debut Plastic Lions laid down his marker as one of the most original laptop troubadours around, with whimsical songs about lions and seals and smoking film stars set to distinctive arrangements of heavily treated sounds which somehow managed to retain an airy accessibility. Much the same applies to Voff Voff, except that the songs are built around firmer skeletons, with Eberg’s acoustic guitar consolidating the bricolage of samples, electronica and found-sound patinas, a blend similar to that employed by nu-folk combo Tunng. The songs are mostly about childhood, and reluctantly growing up: in “Twinkle Tune”, a nursery rhyme triggers memories of long-ago holidays on a farm where “the shells and sheep legs brought us a new world”; for the delightful “Love Your Bum”, a sensual, romantic lyric is created entirely from toilet-roll ad-bites (“supersoft and extra strong, tuggable and huggable”); while “Sober in June” finds our hero promising to “bounce off the sofa before noon” to try to find “the flavour of success”, though without too much conviction. When your talent is as fragile and individual as this, perhaps it’s best to leave it germinating on the sofa a while longer.
Song of the 2. Week: Ampop with the song “Sail to the moon”
Ampop is a pop electronica duet from Reykjavik, founded by Birgir Hilmarsson (1978) and Kjartan F. Ólafsson (1979). Having known each other since they were eight years old, the idea of collaborating on music didn’t appear until 1998 when Ampop was founded. Previously Birgir had been a singer and guitarist of several rock bands, but was developing a huge interest in electronic music, which lead him to approach Kjartan with the idea of collaborating on a project. Until then Kjartan had been making an extremely introverted musical career, writing instrumental electronic music but with no sounds reaching further than the walls of his bedroom.
Ampop’s first release was a couple of months after the founding of the band, two tracks on a various artist compilation CD called Flugan (i.e.The Fly), released by Error (R&R) Musik. The first track the band wrote together was the track that gave Ampop its name (simply being a mixture of the words Ambient and Pop). The track combined a pounding trip hop beat with ambient tones and Birgir’s tenor voice and was evident of the style of the music Ampop were about to develop.
Two years later their debut album called “Nature is not a virgin” was released by Error (R&R) Musik.
In 2002 Skífan in Iceland has distributed their second album called “Made for Market” exclusively.
The title track “Made for Market” had earlier in 2002 been released as a 7″ single on the highly respected Birmingham based label, Static Caravan and received great reviews and comments such as “It’s music of genuine, graceful wonder, like múm engineered by pole while Björk nods her seal of approval in the background”.
On stage several talents assist Ampop. Thorsteinn (a.k.a. Prince Valium) adds synth sounds to the mix, along with Nói who plays the drums and guitars, and sometimes Olafur Josephson (a.k.a. Stafrænn Hákon) adds his wonderful guitar textures too.
Ampop’s influences are among others: Future Sound of London, Joy Division, Portishead, Depeche Mode, Brian Eno, David Sylvian, Kraftwerk and Cabaret Voltaire.
Perhaps it’s Iceland’s extremes — unlit winter days, undarkened summer nights and a vast landscape populated with just 300,000 inhabitants — that set the stage for such remarkable innovation and unusual collaboration by the country’s best-known musicians. Reykjavik, the nation’s capital and home to most of the country’s inhabitants, has become a creative cauldron for production of some of the most interesting music being made anywhere today. The world first began to take notice of the vibrant sounds coming from Iceland in 1988 with the Sugarcubes, a quirky alternative rock band whose lead singer, Björk, went on to become the country’s biggest international star. Her unique voice and eclectic style set a new standard, shaking up rigid categories in pop music. As Björk showed, Icelanders may not be completely reinventing music — but they’re certainly reinterpreting it. They seem reluctant to mimic American and European trends and more willing to try something new. The next wave of the country’s musicians has challenged pop music conventions, prompting critics and fans alike to rethink how they listen. Independent radio stations in Iceland play quite a bit of commercial, mainstream music, so the prime showcase for talent has become the Icelandic Airwaves Festival. Sigur Rós played at the first Airwaves Festival, in 1999, and has since moved on to international critical acclaim.
Listen to the sound of Sigur Ros, GusGus, Mum, Trabant, Apparat Organ Quartet on:
Iceland backs lower sales tax on music Tuesday 28th November 2006
The Icelandic government has announced that it will cut the tax on recorded music from 24.5 to seven per cent from March 2007.
Iceland currently has the second highest rate of sales tax on recorded music in the world, lower than only Hungary and Norway, who both levy rates of 25 per cent.
The reduction follows a 20-year campaign by the country’s music industry.
‘Music is a powerful means of expression, underscoring important moments in peoples lives and evoking strong emotion,’ said Gunnar Gudmundsson, representative of IFPI Iceland. ‘Since music is such an essential part of Icelandic culture, we believed that it was unfair to impose a higher rate of VAT on sound recordings compared to other cultural goods.’
The government has also announced the formation of Music Export Iceland to promote the export of Icelandic music such as the Sugarcubes, Björk and Sigur Rós.
European music industry bodies, including the UK’s BPI, have called for EU-wide reductions in sales taxes on recorded music. The BPI has also called for tax credits on UK record companies’ ‘R&D’ spending, although they already receive a considerable public subsidy in return for airplay (free advertising) on the BBC’s radio stations.