Tónlist

Here is the list of the various Icelandic and other Nordic/Arctic musical groups I’ve mentioned in FITK over the years:

Áki Ásgeirsson
Amiina
Andy Schauf
Apparat Organ Quartet
Árný
Árný Margrét
Atli
Ásthildur Ákadóttir
Ateria
Áuslaug Magnusdóttir
Æla

Baggalútur
Bára Gísladóttir
Bárujárn
Bedroom Community
Benni Hemm Hemm
Between Mountains
Biggi Hilmars
Björk
Björt
BKPM
Bláskjár
Borko
Bríet
Brimheim
Buff

Cosmic Call
Cyber
Daníel Bjarnarson
Ditka
DJ Margeir
Dr. Spock
Egill Sæbjörnsson
Eivør
Elin Hall
Elisapie
Evil Madness
Flesh Machine
Fókus
Frid Fufanu

Gabriel Ólafs
Geðbrigði
Ghostigital
GKR
GDRN
Greyskies
Gróa
Grúska Babúska
Guðmundur Óskar Guðmundsson
Guðni Thorlacius Jóhannesson †
Guðrið Hansdóttir
GusGus
Gyða

Hafdís Huld
Halla Tómasdóttir †
Halli Guðmundsson
Ham
Hekla
Hekla Magnúsdóttir
Hellvar/Heiða
Hildur Gunðadóttir
Hildur
Hilmar Örn Hilmarsson
Hjaltalín
Hjörvar
Högni
Hraun
Hudson Wayne
Hugar
Iðunn Einars

Jakobínarína
Jana
JFDR
Jófríður Ákadóttir
Jóhann Jóhannsson
Jóhanna Elísa
Jóhanna Rakel
Jonathan
Jonfri
Joshua Wilkinson †
Júniús Meyvant
K.Óla
Kaktus Einarsson
Kalli
Kevin Cole †
Kimono
Kira Kira
Kiriyama Family
Kitchen Motors
Kjallarakabarett Kónguló
Kristín Sessala
Kvikindi

Langi Seli Og Skuggarnir
Larus Halldór Grimsson
Liva Mo
Ljáðu Okkur Eyra
Lupina
Mag og Tómas
Magnús Jóhann
Marius DC
Markús & The Diversion Sessions
Marta Ákadóttir
Mikado
Mezzoforté
Mr. Silla
Mugison
Múgsefjun
Mukka
Múm
My Summer as a Salvation Soldier
Mysterious Marta
Neonme
Nini Julia Bang
Nóra

Oculus
Ojba Rasta
Ólafur Arnalds
Ólöf Arnalds
Orphix Oxtra
Osmé
Óttarr Proppé
Pale Moon
Páll Óskar
Pellegrina
Pascal Pinon
Pellegrina
Peter Evans †
Petúr Ben
Rakel
Red Barnett
Retro Stefson
Reykjavíkurdætur
Róshildur
Rokkurró

Salka Valsdóttir
Samaris
Screaming Masterpiece
Shadow Parade
Shahzad Ismaily
Sigrún
Sigrún Stella
Sin Fang Bous
Sindrí
Siggi Ármann
Sigur Rós
Ske
Skúli Severrisson
Sóley
Sólstafir
Sprengjuhöllin
Stórsveit Nix Noltes
Sunna Margrét
Svavar Knútur
Sycamore Tree
Systur

Tappi Tíkarrass
Team Dreams
Tilbury
Toggi
Úlfur Eldjárn
Ultra Mega Technobandið Stefán
Una Torfa
Uni
Unun
Útidúr
Valgeir Sigurðsson
Vicky
Wim Van Hooste †

† = Fellow Travelers

Iceland Airwaves - Recap

Having had a few days to recover from the 2009 Iceland Airwaves music festival a few thoughts about the experience as a whole, and some of the acts in particular, are in order:

First, the festival's organization was excellent. Almost all of the acts were on time, and despite the occasional full venue, I could usually have a choice of interesting acts to see. Those shows whose demand for tickets exceeded the venue capacity, particularly the Kings of Convenience at Fríkirkjan, were usually balanced with another high-demand show at another venue. The special wristband queue for Kings was probably as bad as it got, but the queue was a place to socialize, so that was at least partially redeemed.

The venues were generally good, and although the Reykjavík Art Museum's set-up and lighting wasn't as nice as it was in 2006. It did have a high enough stage to make sight-lines good for all but the shortest patrons- and risers along the sides and back would have helped with that, too. NASA, a large club, was a little better, except when it was crowded. Sódóma and Grand Rokk were both second-floor clubs, which meant low ceilings and low stages, but both were fine when not too full. Grand Rokk, kind of cruddy to begin with, was downright scary when over-stuffed. Still, none was as claustrophobic as the old Gaukurínn used to get. Iðno seemed a little less inviting this time- the stage set-up was a bit darker and the PA risers which flanked the stage took away from the room's considerable charm (along with the performances of several sub-par acts which I did not review.) Hressó's courtyard tent was a most informal and comfortable venue possessing very organic vibe. I missed Batteríð- the few acts I wanted to see there always had a long line.

The off-venues have greatly expanded since 2006; there was music everywhere. Most of these mini-concerts were in record stores and funky coffee-houses. The big stage in Skífan probably had the most effective presentation, with the most incongruous being at Eymundsson's bookstore (nice view of the jail, though!)

But the best venue by far, large or small, was the Nordic House, with its cozy 50 seat auditorium. Although it had no stage per se, the intimate nature of the mostly acoustic performances there didn't need one. Some acts, like Pascal Pinon, Oh Land! and Casio Kids suited the room perfectly. Kudos to Sari Peltonen and all the people at Nordic House for an unforgettable series of ten concerts (and Q & A sessions) over three days. It is well worth the trek across a windy heath.



Finally, the main reason I love the Airwaves is that the chance of seeing something new and exciting is always high. Even groups whose musical styles I don't care for had good things going on- Captain Fufanu, two teen-aged technos, have the potential to become monsters. Cosmic Call showed themselves capable of creating solid rock tunes, while Útidúr and Rökkurró both expanded the usual musical boundaries of pop-rock. All of the orchestral/fusion groups (Hjaltalín, DJ Margeir, Daníel Bjarnason) were exceptional. Musical considerations aside, some acts were just plain fun to see (Vicky, Dr. Spock, 22, Casio Kids, Ultratechnomegabandið Stefán) and there were many singer-songwriters (maybe a few too many) who showed promise (Toggí, Oh Land!, Uni, Hraun, Björt) and just some good old hard-rock bands (Æla, Bárujárn, Darling Don't Dance.)

I saw over 40 acts, less than a quarter of the total, and all were within walking distance of each other- some of the venues were only meters apart. Reykjavík is a fun city, day or night, with many shops, galleries and places to eat. Almost all of them are original concepts, not franchises:



In general, the Icelandic bands were, by far, the most exciting and innovative. I might have to wait a few years before I return, if only to give a new crop of Icelandic acts time to develop and mature.

Norræna Húsið

Chapter 15 of Search For a Dancer, a serial memoir about a week I spent in Iceland in 2022. Mondays on Flippism is the Key

After the JFDR boutique gig ended I went around the block to a basement space beneath the Smekkleysa record shop where the Apparat Organ Quartet was setting up. They were a trio now, the late Johann Johannsson was unable to make it, obviously. I had seen them in 2006, in the big Art Museum space, that show was a completely demented aural and visual assault. It was my introduction to Johann, a massive talent that I was fortunate to see perform five times. The remaining members were all older now, of course, I believe one member may be close to 80! The small room (that had been nearly empty when I had seen Hekla there the day before) was stuffed with cheesy and antique electronic keyboards and organs. They joked that they were an “Apparat cover band—better than the original!” I know how temperamental those old electronic gizmos can be but they got them all working, as far as I could tell. The music was as nutty and unpredictable as ever. I stayed as long as I dared to—the place was hot and over-filled and, as I had already seen someone collapse at an Airwaves event, I didn’t want to repeat the experience.

I braved the dark walk through Hlómskálagarður park, dashing across the busy Hringbraut highway, and walked down Sæmundargata, the street leading up to my destination: Norræna Húsið. The Nordic House was designed by acclaimed Finnish modernist architect Alvar Aalto (1898-1976) and is one of his later works, a hidden gem among his better-known masterpieces. He also designed all installed furnishings, lamps and nearly all of the furniture. It is a multi-use building, including a restaurant, library, workshops and, most importantly for tonight, a performance space. I tingled in anticipation as I walked up the path to the building’s entrance.

I have spent many hours here, starting in 2009, when I saw Hraun (a folksy band), Hafdis Huld (a singer-songwriter), Oh Land (a ballerina/singer), Casio Kids (a marvelous band playing cheesy keyboards), Toggí (a salty raconteur), and Pascal Pinon: a quartet of girls who changed my life. In 2018 I saw Petúr Ben (troubadour), Nini Julia Bang (a musical witch), Liva Mo (a singer/raconteur), and Bláskjár (singer-songwriter). Because this ‘house’ is about a mile from the center of town, it always seems to be a bit of an adventure to make the trek through the area that was featured so memorably in the Halldór Laxness book The Fish Can Sing. This year, coming off 2 seasons of Covid cancellations, everything had been scaled back: there were no decorations and the only act was Dawda Jobarteh and his Kora, a traditional Gambian harp.

One may wonder how a Gambian folk-musician made his way to the Nordic House in Iceland, but I found it to be a welcome change. Dawda lives in Copenhagen and his musical career is an example of how the world is changing. With most major European cities supporting a mix of cultures, sometimes uneasily, this diversity renews artistic traditions. He moved from Gambia in 1999 and settled in Denmark. Dawda is solidly rooted in one of West Africa's most illustrious musical dynasties but it is as an international musician that he has found his place, and key to this is his willingness and enthusiasm for working with musicians from different backgrounds and traditions.

Dawda’s set was brilliant.

The Kora is a type of harp, with strings attached to a fret board. It is set up so that it could be played in counterpoint, the strings for the left hand playing bass and the right hand the melodies. There was a ton of culture being expressed in Dawda’s songs, ineffable spirit-messages from the past. The twenty people in the audience were mesmerized. It was unfortunate that he was the only performer, rather that the 3 or 4 they used to feature in pre-Covid times. It also seemed as if the show was thrown together at the last minute, with only a day notice in the festival schedule and its being held after dark, unlike the leisurely all-afternoon affairs I had attended at earlier Airwaves. I stayed through his solo set but then reluctantly left (when he was joined by a singer) because the evening’s Airwaves events at the major venues were starting.

Search for a Dancer Index…

Fabulous Friday- Iceland Airwaves 2010

Lots and lots of good off-venue stuff this afternoon. Eymundsson's (the one by the jail) has Pascal Pinon (17:15) while Máls og Menningar has good stuff all afternoon, likewise the downtown hostel. Nordic House and Hressó are good bets as well.

The evening also has an embarrassment of riches.

The great folk-rock band Hraun starts a solid night of music at Tjarnarbíó at 19:00:



Even the foreign acts (Murder 19:50, Gablé 21:30, Angel Deradoorian 22:30)) look good, add in with the sensational Útidúr and you might not have to go anywhere else, but if you do the teen-age DJ wunderkinds Captain Fufanu are at Apotekið (21:50):



while back at Tjarnarbió DJ Margeir and his Sinfó go on at 23:30 (a must-see mix of classical and techno!):



Faktory has a strong after-midnight set, including Sudden Weather Change and thrashers Æla:



For those wanting a little calmer evening, Risið has the Trúbatrixur night with an all female lineup of folk and pop acts while Iðno's line up also looks to be very good, including Nóra at 20:50 and Nive Nielsen and her Deer Children from Greenland!

Surf's up! when the band Bárujárn (featuring a theremin!) is at Amsterdam at 01:10:



Best day of the festival, if you can't find good music today, and there is plenty more great music I haven't listed, you aren't trying.

Iceland Airwaves Update - Day Two

Things were off to a roaring start today (or rather last night, when the winds were well in the 50 mph range after midnight) but (almost) everything was sunshine and flowers at a small off-venue concert held in the early afternoon at the Nordic House, a Scandinavian library and cultural study institution located near the University:



Hafdís Huld, an experienced singer-songwriter performed catchy pop-rock with her band in the intimate auditorium. Very professional, very positive and upbeat in personality, Hafdís charmed the small crowd:



Hraun, whose leader/singer/songwriter Svavar Knútur is from the Westfjords (his promo shot shows him bottle-feeding a lamb!) is about as close to an elf as you can get. His reworking of Darling Clementine into something quite new was exceptional. He got the audience to sing along on a couple of tunes, and we were great as well:



Just for Rose: here's a little library porn:



Rokkurró, what some might call a "shoegazer band", did some art-rock on the main stage at the Reykjavík Art Museum. With a strong vocalist who doubled on cello they were pretty good, in their way, in a short set:



I didn't know what to expect from Björt, so I headed over to Hressó, where they had a stage set up under a big tent- beer garden style. She came on with a full rock band, but sang songs with titles such as "Happy Memories" and "With Love to my Parents", I know that it sounds corny but she was sincere and it was very nicely done:



Next up was a trip back to the Grand Rokk to see something completely different, Vicky:



And they were great. Sample song titles: Robutussin and My Black Lesbian Lover. They definitely had the most fun performing of any group I've seen so far. I LOVE RIOT GRRRLS!

To complete this most eclectic night, I went back over to Fríkirkjan to see Hjaltalín perform with a TWENTY PIECE ORCHESTRA! Every Iceland Airwaves usually has a few moments that are simply mind-blowers and this was definitely one of them: Fully orchestrated songs with overtones of Ligeti, Stravinksy, and Spector... Phil Spector, that is. Conducted with inspiration by Daniel Bjarnason, this was a full hour of magnificent music. Stunning.



And The Airwaves isn't even half over!