Reykjavík Grapevine - 05.06.2009, Qupperneq 46

34
The Reykjavík Grapevine
Issue 7 — 2009
those of you that didn't make it to the show
(shame on you!), we've got an awesome
compensation lined up! The kids are
currently spending time in a countryside
cottage, writing material for their
upcoming sophomore effort (title TBA,
expect it in stores by the end of the year),
and they've graciously agreed to share
a sneak peek of the shape of Rökkurró
to come. Entitled Endalok ("Ending"),
this demo version displays a newfound
confidence, and just why people all over
Europe are falling flat for 'em.
Rökkurró performed splendidly at our
Grand Rock concert series last month.
Folks are still talking about the awesome
times they had listening to their soothing
melodies, and how much the band has
grown in its relatively short lifespan. For
Rökkurró
Endalok (demo)

rokkurro
Download the free track of the issue
ENDALOK at www.grapevine.is
Shortly after the Joy Division-80s-
wave-revival-hype, Ruddinn releases
his second album, which tries to take
the same line. 2 has the monotonous,
pumping beats and somehow
depressing morbid melodies as its
English frontrunners had a quarter
century ago. Maybe there is more
electronic gadgetry, which is due to
the fact that Ruddinn is a one-man
show – just a boy, his guitar and some
electronics.
Although this sound in general
hasn't gotten outdated at all, as the
success of bands like The Editors
or White Lies shows, Ruddinn's
record cannot keep up to these. The
arrangements are way too similar,
which makes 2 sound quite boring
after the first half. You will spend the
latter thinking about the interesting
development Depeche Mode made in
the last years culminating in their new
record, Sounds of the Universe.
—FLORIAN ZüHLKE
This hardcore-punk band already had
a huge impact with their first album,
Orchestra of Wolves, three years ago –
an album that brought together startling
ugliness, immense power and brutality
in 12 songs and 35 minutes. Rendering
vocalist Frank Carter's statement that
the band would be dead by 2009 a total
lie, Gallows have gone and released
a new album, Grey Britain. It still is an
epitaph: Grey Britain is burning down.
The queen is dead and so is the crown,
Carter shouts and sets course for a
sinister cruise through despair in an
England shattered by economic crisis
and moral decay. Musically, Grey Britain
is mostly kept in midtempo and that way
is more based on atmosphere than pure
aggression, which is underlined by some
instrumental interludes. However don't
get me wrong: Gallows are still up for
the pub brawl! They’ve just dimmed the
light a bit.
—FLORIAN ZüHLKE
GallowsRuddinn
Grey Britain (2009)2 (2009)
gallows
Nasty, nihilistic hardcore-punk.
ruddinn
Bland neo-wave
+-
TRACK OF
THE ISSUE
Download your
free copy at
grapevine.is
Although they have retreated
slightly into the inferior pop
shallowness of debut Breathe,
We Are Shadows at times beautifully
retains and expands upon the richness,
depth and assertiveness of sophomore
effort The Angela Test, especially on
tracks like The Harbor and Planets.
The rhythm section perfectly retains its
ability to ground the heady surrealism
of the songwriting, somehow bracing
and soothing at the same time.
As always with Leaves, however,
things start getting a bit iffy on the
upbeat numbers, and the wisdom of
abandoning the inquisitive, desperate
yearning of The Angela Test for the
contented dreaminess of We Are
Shadows is questionable. I mean, if
that’s what they want to do, fine, but
the thing about writing effeminate
alt-rock pop croons is that if you
aren’t Jeff Buckley, it’ll just sound gay.
—SINDRI ELDON
This Icelandic quartet got
quite some international
recognition in 2002 for their
first album, Breathe. The début was
characterised by the sort of music
from indie rock bands like Doves. This
is where We Are Shadows continues
what Breathe began. While sounding
most of the time like Coldplay, the
band still manages not to become a
facsimile of them, rather adding an
experimental and atmospheric note to
their sound that brings Radiohead to
mind. The instrumental Motion or the
sometimes quite extravagant vocals
contribute to this.
After all, despite it not being very
outstanding compared to the big shots
of their genre, it is solid work and will
definitely find an audience
—FLORIAN ZüHLKE
Leaves
We are Shadows (2009)
leavesmusicspace
» Not dark enough.
Indie rock for the masses. «
+–
Dr. Zühlke
and Mr. Eldon
–
Two men.
One album.
Lots of dissent.
Me, The Slumbering Napoleon
Rökkurró
Kimono
Friday May 29th
slumberingnapoleon
rokkurro
kimono
Getting soaked in the rain is always the
best start to an evening. So much for
the summer! I walked into Grand Rokk
like a drowned rabbit; the mixed smell
of alcohol and damp precipitation was
enough to put a grown-ish man right
off. But in the name of indie-rock, and
more importantly journalism, I braved
the senses and ventured upstairs.
The venue was almost empty, with
the exception of the staff, other bands
and us at the Grapevine for the first
band, Me, The Slumbering Napoleon.
Lead vocalist Binni, resembling a
modern day Jack The Ripper minus
the murders, captivated the audience
with a sense of urgency through
vocal techniques, both screamed and
spoken, complimenting the rest of the
band’s angular chops and frantic math
driven rhythms. Imagine Steve Albini
doing Slint covers, but with ‘cooler’
hair.
Thankfully, as the weather turned
vastly pleasant, the gracious Rökkurró
followed in procession. The multi-
instrumental five piece followed
eloquently through their set, combining
romantic shoegaze, shimmering guitar
tweaks and sensual femella vocals.
Contrasting dramatic strings and
intelligent drum patterns kept the
crowd in awe.
By now Grand Rokk was flooded
with anticipation for the gloomy post-
punk trio Kimono. Some might say
that the band’s apparent popularity
hails them as The Cure for the Cheap
Monday generation. You can see
why though. Baritone guitars and
surrealistic vocals, complimented the
drab environment and metrological
conditions.
Highlights of the evening included
Kimono front man Alex MacNeil’s
uncanny resemblance to Robert
Smith, as well as the rollercoaster of
emotions experienced by Grand Rokk’s
on-lookers from the varied acts of the
night. -JONATHAN BAKER ESq.
concert Reviews
The Dark Night
An evening of feverish shoegaze
MUSIc
&
NIGHT
LIFE