Reykjavík Grapevine - 04.05.2007, Side 34

18_REYKJAVÍK_GRAPEVINE_ISSUE 05_007_REVIEWS/MUSIC/CDS
Reviews by Bogi Bjarnason, Páll Hilmarsson and Valur Gunnarsson
Wulfgang were runners up in 2005 Battle of the Bands. Since
then they have been busy recording their self-titled first al-
bum, released on Cod Music. This is rock ´n´ roll, sometimes
with a distinctive prog-rock feel. The song Machinery has re-
ceived some extensive airplay and built up some anticipation
for the release. But unfortunately that song is the only real
gem here. The rest of the CD is not very exciting, too much
old news and old ideas. But it is apparent that these boys
have potential and know how to work their instruments.
There are some good elements in place but they get lost with
too many ideas being put into each song. The booklet and
cover, tough, is masterfully executed. I´m sure Wulfgang will
get better and their next release could easily be great. PH
www.myspace.com/wulfgangtheband
This was selected as the most awaited album of 2007 by
music critics in the Reykjavík Grapevine’s 2006 year end list.
Rock band Mínus has evolved a fair bit over the years, ex-
ploding from hardcore to stadium like cock-rock. This release
continues in that vain, 11 songs in all, featuring the distinc-
tive Mínus tone. That is probably what will define this release
in the future: Mínus are creating their own sound and The
Great Northern Whalekill is a huge slab of heavy conrete in
the foundation of that structure. But the Great Northern
Whalekill does not deliver the same punch in the face that
Halldór Laxness, their last album, did. It lacks uniformity and
to some extent, originality. There are a few songs that stand
out, Shoot the Moon and Throw Away Angel come to mind,
but I was hoping for a masterpiece and got an album that
does not sound very memorable. Maybe time will prove me
wrong. PH
www.myspace.com/minus
Seabear is a four piece and this is their first full-length album,
but previously they´ve released the EP Singing Arc. Reykjavík´s
hipsters seem to like them and talk avidly about their con-
certs. The world is also taking notice, the influential German
label Morr Music handles the release outside Iceland. Not
bad for a debut record. The music is easy listening educated
pop/country, Beck comes to mind and at times Benni Hemm
Hemm. It floats harmlessly in the background, the home pro-
duction and recording giving it a warm feel. On this album
Seabear relies heavily on acoustic guitars, harmonicas and
violins to deliver their one slow track after another. Seabear
knows how to write songs and the arrangements are at
times innovative but the songs melt into one cute, but bor-
ing, soup. PH
www.myspace.com/seabear
Ólöf Arnalds has been playing music for a long time (for ex-
ample with Múm and Stórsveit Nix Noltes) but this is her first
solo release. Mostly it´s just Ólöf playing guitar and singing
in a high-pitched voice that is definitely unique, sometimes a
low key violin or bass is added. This is old school folk music,
reminiscent of Joan Baez, Bob Dylan and Megas. In fact one
song is a Megas cover, the rest original compostions by Ólöf.
The lyrics are in Icelandic and are fortunately not so bad. But
to me this sounds anachronistic, too much like lost record-
ings from the seventies. It´s certainly well executed and beau-
tiful in its out of date way. Ólöf is a very skilled musician but
this is far from being my cup of tea. I still recommend you
check this out, it might blow you away or puzzle you, as it
did me. PH
Ólöf Arnalds
Við og við
Seabear
The Ghost That Carried Us Away
Mínus
The Great Northern Whalekill
Wulfgang
Wulfgang
Quite possibly the most abrasive release in Icelandic musical
history, JCB is bass heavy, un-compromising and brimming
with delectable drum work. This is Mínus at their most un-
predictable and angry; a relic of their shaven-headed era.
Befitting of the label “Art-Core”, or possibly the “Noise-
Core” moniker slapped on contemporary equals Botch and
Coalesce, JCB pummels in odd meters and unexpected ways
while never ceasing to twist and turn. Aided by producer
Curver and his constant noise infractions and sporting guest
vocals by the Sugarcubes singer Einar Örn this is the album
that put Mínus on the pages of Kerrang and laid the ground-
work for numerous U.K. tours. All in all, some serious left-
field shit that’s laudable throughout, with the minor excep-
tion of the half-decent track, Arctic Exhibition, where singer
Krummi discovers that crooning to the tune of an acoustic
guitar is best left to Simon and Garfunkel. BB
http://www.myspace.com/minus
When Megas first appeared in the 70s, he was the first art-
ist to attempt writing intelligent lyrics in Icelandic within the
context of rock music, at which he remains unsurpassed. His
1977 collaboration with Spilverkið, Á bleikum náttkjólum, has
been named the best Icelandic album of all time. But for me,
Loftmynd remains his masterpiece and the definitive Reykja-
vík album. Megas here writes about the history of Reykjavík,
from the tragicomic story of professional pessimist Birkiland,
to town founder Skúli fógeti and the true story murder bal-
lad Ástarsaga (Love Story). But the best songs are those that
deal with his own period; Reykjavíkurnætur, about growing
up in the post war era, and Björt ljós, borgarljós, about im-
migration from the countryside as seen through the eyes of a
drag queen. Some of these songs have been rediscovered on
Magga Stína’s excellent cover album of Megas songs, but the
originals remain the best. And they even boast Björk on back-
ing vocals to boot. VG
Megas
Loftmynd
Mínus
Jesus Christ Bobby
2001 1987
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