Reykjavík Grapevine - 13.07.2007, Blaðsíða 9
16_RVK_GV_10_007_OPINION/MUSIC
In the late eighties, The Sugarcubes became closer to
what can be called international stardom than any
Icelandic band before them. The band wasn’t famous
in the same way as U2 or Michael Jackson, but they
gained respect from the major players in the industry
as well as music enthusiasts.
For years Icelandic bands had tried and failed. The
extremely popular sixties-band Hljómar called them-
selves Thor’s Hammer in their failed search of interna-
tional fame. The late-seventies saw the much talked
about disco installation, Change, but they never found
the success they were looking for. Many others tried
but most didn’t even get close. The ones who did,
notably the fusion band Mezzoforte, didn’t get close
enough.
After the breakthrough of Björk in the early nineties,
Icelandic musicians realised that being from Iceland
did not necessarily mean that it was harder to gain
recognition. The mid- and late-nineties saw an inno-
vative landscape of talented young men and women
reaching out for the stars that had eluded them for so
long. With Sigur Rós, the music scene of Iceland broke
even further into the sphere of underground music and
finally it was safe to say that Iceland was on the map.
Others had some success; Múm and Bang Gang found
their place in international markets and the same can
be said of the popular techno band Gus Gus.
Looking to further the country’s reputation abroad
in the new millennium, the music festival Iceland Air-
waves became an important meeting point for everyone
interested in the music the country has to offer. But
what has happened since the early ‘00s? Is Icelandic
music getting ahead the same way as it did before?
Is the drive the same now as it was only a few years
ago?
Iceland Airwaves: Serving Their Purpose
When taking part in a music festival like Iceland Air-
waves, as someone who’s a part of the music industry,
you realise that there are international journalists wait-
ing for the next Björk to happen. Magazine writers,
record executives and television crews are scouting
the venues in their search for the next big thing. The
city sizzles with people running between different
locations, listening to music and interviewing anyone
who they feel might be it. Many of the international
artists that play at the festival have been successful.
Some have played here as relatively unknown bands
in October but by spring have become international
stars. A good example is the band Hot Chip, but they
enjoyed considerable popularity in Iceland before the
rest of the world acknowledged them. Whether it’s
because of Iceland Airwaves is not clear, but I feel
confident that bands like Hot Chip would never have
been picked to play here if there wasn’t a certain
something to them.
The Icelandic bands are, however, not making par-
ticularly big waves now. Many of them are very skilled
musicians, others have the look and the attitude, but
it doesn’t seem to matter. Yes, I know, some of them
get gigs in other countries, but let’s face it – they
aren’t becoming the next Björk or anything close to
her widespread popularity.
One of the bands that has gotten serious atten-
tion is Jakobínarína. They play fun rock and roll, not
too complicated and never boring. They are certainly
no innovators in music but they’re not trying to be.
Many others have generated a buzz but their music
never seems to reach the ears of the crowd that might
embrace them properly. Mínus is a good example of
this. A fantastic band with a strong presence but they
never found the right market for their music – at least
not the market that would buy their albums in the
serious amounts I believe they are capable of selling.
The Professionals: In It for the Long Haul
Some bands have found a small market and chosen to
stick to it. They are not looking to conquer the world
in the same way a newcomer would. But if it happens
– it’d be a great bonus. Nevertheless, they are not
serious contenders to Björk’s throne – at least not for
now. But all of them have something that has granted
them longevity.
Gus Gus have been around for more than ten years.
They’ve found their scene and therefore know where
they can find their fans. They’ve toured religiously and
have a strong fan base throughout Europe, even if they
started out as a pop band – not a dance act. Gus Gus
is a band that understands its limitations and doesn’t
try to be anything other than a disco oriented techno
band. That way they can survive as long as they care
to cater to their fans as well as they do. Musically they
are good, their sound is impeccable and most certainly
their own despite a shift in style.
Bang Gang is another example of a band that
knows its audience. Playing easy going chamber pop
without letting current flavours interrupt the sound
is working for the band. The same can be said about
Singapore Sling and other bands that have embraced
a strong but particular sound. They are not out for
world domination; they’d rather play for their crowd
without having to be something they are not.
Múm is one of the bands that has found the most
success abroad, but they have changed a lot since their
critically acclaimed Finally We Are No One (2002). Their
sound has evolved with new members and their long
awaited fourth studio album will be released this fall.
What the new line-up has to offer is an unanswered
question.
Where is the Original Sound?
While watching a newcomer on stage or listening to new
music at home, I can’t help wondering where and when I
get to hear a new original sound. An original sound was
what Björk and Sigur Rós brought to the scene a few
years back. The main reason for their notoriety is their
originality. Björk’s success resulted in a period of bloom-
ing creative freedom and for a short while a window
opened for bands that had just that. We saw artists like
Emilianna Torrini, Sigur Rós, Gus Gus and Múm flourish
because originality became popular.
The music business of today has become so money
driven that only a few executives are connected to
what should be an artistic exploration of sound. Many
prefer to sell their certain 5000 copies and call it a day.
Originality is not celebrated in the same way it was ten
years ago. This is evident when looking at decent but
unoriginal bands like Nylon, who are being groomed
for international success, without any luck as of yet.
Thankfully, I’m convinced the cultural climate will
change again, as it always does. One day some artist or a
band will struggle against all odds and then burst on to
the scene sounding like no one else before them. And we
will give them the standing ovation they deserve – that
is, if we’re keen enough to realise they’ve arrived.
Are We Ever Going to Find
the Next Björk?
Text by Helga Þórey Jónsdóttir
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