Keeping a finger on the pulse

Reykjavík On Stage

Rokkað á Hvanneyri

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(Pistillinn var skrifaður fyrir Tengivagninn á Rás1 og birtist þar, miðvikudaginn 14. ágúst 2019.) Falið í Borgarbyggð með tæplega 300 íbúa – sko, Hvanneyri hefur ekki haft mikið vægi í mínum huga, sérstaklega ekki þegar kemur að tónlist. En sjálfboðaliðasamtökin Stelpur Rokka! hafa svo sannarlega breytt þessari ímynd! Ásamt erlendum samstarfsaðilum völdu þau alþjóðlegum rokkbúðum stað í Landbúnaðarháskóla Íslands á Hvanneyri. Þann 10. águst náði þessi 98-manna hópur með fólki frá 10 löndum og 11 samtökum hæsta punkti með lokatónleikum í gömlu hlöðunni á Hvanneyri. Flestir þátttakendur spiluðu á hljóðfæri sem þeir höfðu ekki spilað á, áður en þeir tóku þátt í rokkbúðunum og voru varla viku að læra á þau. Bæði stigu þeir á svið í fyrsta skipti á ævinni og spiluðu fyrir rúmlega 100 áhorfendur, líka í fyrsta sinn. Hjarta mitt stækkaði um nokkur númer á meðan ég var að horfa á þessa epísku tónleika og vikan á…

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What 2019 has brought in

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It is with a heavy heart that I have to inform you that the 5th issue of Reykjavík On Stage will not arrive in a printed form in 2019 and Reykjavík On Stage will stop functioning as a printed magazine. Due to personal reasons, the publication is no longer able to be secured. For the last 5 years, Reykjavík On Stage has been an ever-changing music space born of the passion for the Icelandic music scene. It had been a simple blog with live reviews. It had been a printed magazine. I have poured all my heart into this, no matter of various consequences. Now, Reykjavík On Stage is not walking off the stage. It is transforming again, this time into website dedicated to Icelandic music. Please do not hesitate to be in touch if you need any kind of information about the local scene or if you think you…

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Eitt og annað um öryggi og virðingu á tónleikum

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Undanfarið hefur talsvert verið rætt um hvernig bæta megi upplifunina af íslenskri tónlist, sú umræða hefur að mestu snúist um að fjölga skuli tónleikastöðum í borginni. En það er önnur hlið á þessu máli, sem snýr að upplifun tónleikagesta, sem ætti að vera ógleymanleg á jákvæðan hátt, nefnilega að þeir upplifi sig örugga. Hér eru nokkur orð um öryggi. Öll viljum við fara á tónleika í rými sem er öruggt og þægilegt. Þess vegna ættu staðir sem hýsa tónleika að leggja áherslu á að sjá til þess að þeir séu ánægjulegir, bæði fyrir tónlistarfólk og tónleikagesti. Trúlega höfum við öll reynslu af því að ein drukkin manneskja hefur truflað tónleika á mjög leiðinlegan hátt. Ofbeldi og kynferðisleg áreitni á ekki að líðast á tónleikum. Um það eru allir sammála, þú líka, ekki satt? Það er á valdi starfsfólks tónleikastaða að sjá um að viðburðir fari vel fram og að óæskileg…

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A word or two on respect and safety during live shows

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Lately, there has been an ongoing discussion about making the Icelandic music experience better, spinning mostly around the issue of how to make more space in town for live shows. But there is another side to this topic as well. It’s how to make the experience of live shows unforgettable in a positive way and, first and foremost, safe. So here’s a word about safety. Each of us would love to attend a show in a space free from any fear or discomfort. Therefore, venues that aim to host events should stand their ground in making the shows enjoyable for both musicians and guests. Though it surely happened to all of us that this one intoxicated person was interrupting the show in a very annoying way. There must be no space for violence or sexual harassment during live performances. Everyone agrees to that, you too, am I right? It’s in…

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He wants to alter your every ego trip

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Words by Wim Van Hooste The review was originally printed in Reykjavík On Stage (Issue 4) After being introduced to synths and drum machines by Icelandic icon and producer Hermigervill, Davíð Berndsen developed a groovy pump-up-the-jam, retro sound. His debut album, Lover in the Dark (Borgin 2009), gave him some international exposure, and it was re-released in 2011 by 101berlin in Germany and in Japan on the Donuts Pop label, and in 2012 by Geertruida in the Netherlands. His second release, Planet Earth (2013), is the perfect music to strut around to, dressed to kill in your fishnet gloves, shoulder pads, leopard leggings and slouch socks. The third album by this ginger-bearded redhead, Alter Ego (OX Records), also mines the 1980s for inspiration for his electropop music. The longplayer was funded by a successful Karolina Fund campaign. The record is driven by the Dutch connection, as all three studied in…

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The World Is Not Enough

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Words by Stína Satanía The review was originally printed in Reykjavík On Stage (Issue 4) Since 2003, the Reykjavík-based English–Icelandic musician, producer and singer-songwriter Joseph Cosmo Muscat has funnelled his music through different aesthetics, and now has had several projects under his belt, from metal (Celestine, formed in 2007) to hardcore punk (I Adapt), from electro to hip hop (Rímnariki). Last summer he dropped his third dreamy electronic solo album, entitled The World Is Not Enough, under the name Seint. On this album Seint was influenced by the sudden passing of his life-long friend IngólfurBjarni Kristinsson in 2017, to whom The World Is Not Enough is dedicated. Their sonic closeness is mirrored in ‘Guð’ (‘God’), where Joseph Cosmo Muscat honours his friend’s memory in the most accurate way, by letting his late friend’s voice be heard in the chorus. Though still a bit melancholic and with a thread of heartbreak,…

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Grúska Babúska – Tor

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Words by Stína Satanía The review was originally printed in Reykjavík On Stage (Issue 4) Grúska Babúska, a folk pop female collective with a melodic, other-worldly sound, released their self-titled debut album in 2013 and B-Sides Grúska Babúska in 2015. Their authentic fairy-tale style immediately drew attention. The band´s latest release, five-track EP Tor, was mostly written in 2016 during a week long residency in Glastonbury, UK, and dropped on the market on 1 September 2018. On the album, the band captures the influences of the historical, mythical and spiritual heritage of the town of Glastonbury, UK. Here, Amiina meets the playfulness of dj. flugvél og geimskip (known also as dj. airplane and spaceship). The result is like an affair between experimental electronica and childlike innocence. Each song of Tor glides on gloomy tales of winds of darkness, frost, moon and dancing shadows. Grúska Babúska introduce listeners to this atmosphere…

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Ólafur Arnalds´ revolution of sound

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Words by Stína Satanía The review was originally printed in Reykjavík On Stage (Issue 4) Over the years, Ólafur Arnalds has earned acclaim in both the contemporary and classical fields. His fourth solo album, re:member, was released in August on the new post-classical British label Mercury KX, which had already published his 2017 Island Songs as the first album under their umbrella. This time the BAFTA-winning multi-instrumentalist pushed himself out of the comfort zone and managed on just one album, to synchronise all the directions he has been spreading into – it has the classic sound of Ólafur Arnalds, with touches of his electronic dance side project Kiasmos, even hip-hop influences and the addition of hi-tech software. Bingo, or not really? There’s something magic about the way Arnalds shapes soundscapes. Building his own aesthetics on gentle piano chords and delicate orchestral strings arranged by his long-time collaborator Viktor Orri Árnason…

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Catching snowflakes with Árstíðir – Nivalis

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Words by Stína Satanía The review was originally printed in Reykjavík On Stage (Issue 4) As befits the English name of the band, the world of Árstíðir changes with every album – literally, like seasons. Three years have passed since this pop chamber outfit last released an album, Hvel. Much has changed along the way, but from the very beginning of their career, the band performed in a very high gear, which is now deepened with the maturity of their ten years’ experience as performers. One thing remains sure – Árstíðir don’t disappoint despite the quite high degree of my expectations towards their new material. After dropping three albums (Árstíðir in 2009, Svefn og vöku skil in 2011 and Hvel in 2015), the band summed up their progress over the past decade with the 22 June release of Nivalis, which appears in truth as their most mellow, grand and hauntingly…

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Kontinuum – No Need To Reason

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Words by Andreas Schiffmann The review was originally printed in Reykjavík On Stage (Issue 4) This is dark music that dodges the usual traps, coming across as neither pseudo-evil nor faux melancholy. Kontinuum’s weightless yet substantial sound has always revolved around the voice of multi-instrumentalist and musical director Birgir Þorgeirsson, whose vocal chords arguably rival those of Ulver’s Kristoffer Rygg and Wovenhand’s David Eugene Edwards – both of whom are in their creative prime, like him and his troupe. On No Need to Reason, the frontman’s dominance is perhaps more obvious than ever before as he puts a different stamp on each track according to what it needs. Apart from, at best, sporadic extreme metal leanings, this Reykjavik-based band’s third album leaves no stylistic stone unturned to expose an underbelly of human psyche that is not entirely unsightly. ‘Lifelust’ alone demonstrates this with its almost pop groove, and the driving…

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