Tag Archive: jónsi


AWAKENING THE INFANT SPIRIT

In 2006, a Dutch filmmaker named David Kleijwegt  made a TV documentary called  The Eternal Children about the kooky sisters CocoRosie . It connected their music and petulant refusal to behave like sensible grownups with other musicians, including Devendra Banhart, William Basinski and Anthony & The Johnsons.

Six years on, something of the innocence and freshness of the New Weird America has faded but it seems to me that there are many artists who still want to preserve and promote a sense of childlike wonder both in the music they make and the tie-in visuals they commission. This is not so surprising when the alternative is the cynical adult marketing behind the crude bump and grind of MTV videos.

This fact struck me again when watching the  beautiful animation by Crush Creative to Jónsi‘s Gathering Stories, a song from the latest Cameron Crowe movie We Bought A Zoo.

You can see the same spirit pervading the images in Ólafur Arnalds’ Hægt, kemur ljósið (directed by Esteban Diácono) from the Icelander’s 2010 album: ‘…and they have escaped the weight of darkness’.

You can then compare these with an older tune – The Lake by Antony and the Johnsons,  a wonderful tune based on a poem by  Edgar Allen Poe and animated by Adam Shecter.

olafurSad tunes are not always about heartache and loss. Ólafur Arnalds wrote  a tune called Poland after a nightmare journey in Eastern Europe. The combination of bad roads, too much drink and not enough sleep was his inspiration. Similarly Ljósið, which has many online admirers swooning over its melancholy beauty, was originally written as a commission for a TV commercial for bath tubs. (The piece was subsequently rejected on the grounds that it wasn’t dumb enough to be used in an ad).

This background to these two tunes was freely conveyed to an adoring audience at Ravenna’s Rocca Brancaleone – a beautiful open air setting under the stars perfectly suited to Arnald’s delicate tunes. These anecdotes help to take some of the preciousness out of the music and defuse any exaggerated air of ethereal mystery behind the simple compositions. Continue reading

Jónsi = Joy

This is third time Jónsi has performed at this stunning open air space in the centre of Ferrara alongside the beautiful 14th century Castello Estense. The previous two occasions he was with Sigur Ros and I kick myself for not being present at either.

The focus of the show is his joyous new solo album Go which is a logical progression of the pop direction of Sigur Rós’ 2008 album : Með suð í eyrum við spilum endalaust . The songs are shorter and in English. It is has its quiet, transcendental moments  but live, as on record, it’s the upbeat tunes like Go Do and Boy Lilikoi that have the greatest impact.

The concert began quietly with Jónsi alone on acoustic guitar and ended with a quite breathtaking full band treatment of Grow Till Tall which is one of the most stunning climaxes to a concert I have ever witnessed.

The lyrics to this song are almost child-like in their simplicity (You’ll know, when’s time to go on / You’ll really want to grow and grow till tall /They all, in the end, will fall) and as the track builds becomes just one repeated phrase (You’ll know) with the crescendo coinciding magnificently with stunning visuals of a violent  storm with a raging wind and torrential rain. Jónsi dressed in red Indian headdress and a coat of many colours roams the stage as though struggling to survive this tempest.   This video shot in London gives a pretty decent approximation of the experience but it has to seen live for the full impact:

WITH A BUZZ IN OUR EARS

Sigur Ròs

The title of the fifth album by Sigur Rós (‘með suð í eyrum við spilum endalaust’ ) officially translates as “with a buzz in our ears we play endlessly” according to their website -. It sounds even better in Italian: “con un ronzio nelle orecchie suoniamo all’infinito”.

Jón þor (jónsi) Birgisson could be singing about erupting Geysers and the vagaries of the Icelandic climate for all I know but that doesn’t stop them sounding epic and passionate.

Calling the opening track Gobbledegook is inspired since it acknowledges the impenetrability of their lyrics in a playfully ironic way. Even the one track (their first) in English might as well be in a foreign tongue. As with Animal Collective, which this track resembles, the beauty is in communicating a mood (joy/bliss/delight/abandonment) not in imparting some profound philosophical reflections.

An album which on one track features a 70 piece orchestra can hardly be said to be going back to basics but there is nevertheless a new directness and purpose to their sound which their last album ‘Takk’ lacked.

Within the emotional sweep of these immense tunes you can hear that they are rooted in simple acoustic and piano refrains. The production skills of the ubiquitous Flood have given the band a crispness that makes their sound more avant-pop than emo-prog.

The Moby-fication of so called ‘ambient’ music means that music lumped into this genre is frequently appropriated for natural history documentaries or upmarket commercials rather than listened to in its own right. This album deserves a nobler fate as it is a glorious record.