Our class daily blogged Iceland Airwaves 2012. Check out the daily blogs and more Iceland Airwaves 2012 stories that made our home page! Also, below you can find additional blogs from the fest.
By Andrew Gonzalez
DIIV @ IÐNÓ
Probably one of the more well-known American buzz bands to be featured at Airwaves, Brooklyn’s DIIV blew away all preconceived notions that they are just another cookie-cutter indie rock band. If one had never heard of them before and saw them tonight, those in attendance found out they surpassed their dream pop labeling and instead channeled the raw energy of post-punk into an extremely cathartic performance. Songs were sped up and extended jam sessions were prevalent as well (“Air Conditioning,” “Wait,” and “Doused”). Another element of DIIV’s performance that deserved high praise was the guitar interplay between Zachary Cole Smith and Andrew Bailey — their bright jangly guitars acted as two voices harmonizing with each other, ultimately creating fluid hooks, accompanied by floating chord progressions. As far as American bands go who played Airwaves, DIIV won my pick for best performance from what I was able to catch.
I Break Horses @ IÐNÓ
It’s one thing to flat out fetishize a genre, but it is another thing to breathe new life into it. Few bands fall into the latter category, but in the case of Sweden’s I Break Horses, they are straying away from typical shoegaze fare. Picking up where My Bloody Valentine left off, I Break Horses are on a mission to warm those who are searching for comforting blankets of fuzz, in addition to paving the way for a new generation of bands finding immense influence from the shoegaze genre. Beneath all the haze and white noise, I Break Horses administered infectious hooks paired with Maria Lindén’s cooing vocals, which ultimately left the audience struck with a feeling of serenity as opposed to typical disorientation. Be advised, bring some ear plugs if you are going to see them any time soon.
Just Another Snake Cult @ Bar 11
Led by Icelandic wunderkind and multi-instrumentalist Thor (a.k.a. Þórir), Just Another Snake Cult finds his new project sipping from the same pot as Ariel Pink and John Maus. Playing everything from autoharps to acoustic guitars with drumsticks, his approach to crafting pop songs can be compared to that of Brian Wilson circa Smile. Upon hearing his charming bedroom based psych-pop live, one might picture being in a Wes Anderson film. With a strong emphasis on melody, Thor created songs filled with melodrama utilizing dissonance clashing with cheerful melodies. To complement Thor’s enchantment with melodrama, a cellist and violinist accompanied him and helped accentuate his live musical vision in a way that was neither distracting nor pretentious.
Prism Waves @ Bar 11
Denver, Colorado’s newest export Prism Waves played their second show ever tonight, and for being so new in the music world, they managed to fill out an entire bar and won the audience over with their lush indie pop mixed with hints of minimal wave. Prism Waves songs are shrouded in melancholy — the band employed slide guitars drenched in reverb to evoke slow burning anxiety, in addition to dense ambient samples to help set the underlying mood. Harmonies were also important for Prism Waves. They were not over the top, but an immediate sense of confidence was found in their delivery.
Sindri Eldon & The Ways @ Amsterdam (courtesy of Becky Nystedt)
Ending the last night of Airwaves with a bang at the Amsterdam venue, Sindri Eldon & The Ways played upbeat, punk-inspired power pop to a full house. Feeding off the audience’s energy, the trio did what any great band would do in such a situation — relish the moment, and take full advantage of the audience’s attention by having them sing their hearts out. The trio wasted no time playing tunes of the soft variety, but rather laid down the crunchiest riffs imaginable and intense vocal delivery. As a frontman, Sindri Eldon demonstrated his commanding ability and proved to be an artist who lives for live performances. Sindri Eldon has many musical projects under his belt, but after witnessing him play music with his latest band, it became apparent that he has achieved a level of musicianship unparalleled to previous projects.
Sipping lobster bisque @ Saegreifinn (aka The Sea Baron)
After a long day of walking around Reykjavík, stressing out over bands to cover, and being blown away by violent winds on numerous occasions, the night was concluded with quite possibly one of the best dinners of the entire trip. For those in the know, Reykjavík holds some of the most exotic and eclectic cuisines – you can find hot dogs, pizza, noodles, and even tapas fusion. However, nothing compared to the lobster bisque paired with freshly baked bread and locally produced butter found at the cozy restaurant Saegreifinn (aka The Sea Baron). If you ever find yourself stuck outside combatting freezing high-speed winds, nothing comes close to a cup of piping hot soup to get feeling back in your face. The lobster bisque is a simple comfort food, filled with plenty of vegetables and small chunks of juicy lobster. Flavors of ripe tomatoes and vegetables stuck out more than anything, and when used as a dip with freshly-baked bread, there will be a guaranteed fiesta in your tummy. To put it simply, the lobster bisque is a staple of Icelandic cuisine and something not to overlook.
By Ross Houslander
Sykur @ Sirkús Port
“I feel like we’re all in a big elevator,” singer Agnes Andradóttir joked as Sykur got set to play at Sirkús Port. The tiny bar was jam packed; people were standing on couches, tables, anything they could find to get a better view of the Icelandic electro four-piece, who filled the few spaces between people with hard-hitting sound. Andradóttir’s fantastic, growling voice carried cleanly over the group’s dirty beats and punching synths. The band ripped through a half hour set to an appreciative crowd who called for more after every track.
Retro Stefson @ Harpa Silfurberg
By far the funkiest band at Airwaves, Retro Stefson owned the stage – all eight of them. Slap-happy bass, obese synths, and a singer with more charisma than a politician all made Retro Stefson a balls-to-the-walls experience that could scarcely be rivaled. Calling for the audience to throw their shirts on stage, the band also insisted that “You have to be sexy at Iceland Airwaves!” They blasted through funkadelic numbers in quick succession, always moving, frontman Unnstein Stefánsson dancing with such intensity that he seemed to be cast from pure energy. After the band was satisfied they had enough shirts on stage, they called for the audience to back, back, back up, widening the gap between the audience and the stage in order to make room for one of the band members to jump down and start breakdancing. Naturally, everyone went berserk. The band made time for each instrumentalist to take a featured solo; each displayed virtuosic chops and showed he or she could work just as well in a prominent role as in a secondary. With final calls of “Harpa, you gotta be sexy tonight!” the band left the stage to thunderous applause.
Rangleklods @ Harpa Silfurberg
An electronic group from Denmark, Rangleklods showcased a wall of sound approach driven by vocals, synths, and various effects. Frontman Esben Andersen had an enormous table of controllers, sequencers, and countless other electronics, including a compressor he played by raising and lowering his hand above it, similar to how a theremin is played, while Pernille Smith-Sivertsen provided backup vocals and synths. Esben’s deep voice evoked groups from the 1980’s like Simple Minds; if Rangleklods had covered “Don’t You (Forget About Me)” it would have been a perfect fit. Andersen’s management of his astronomic effects collection was very impressive; the pair were very tight despite dealing with an incredible array of effects and loops.
GusGus @ Harpa Silfurberg
One of Iceland Airwaves’ original acts, GusGus has been playing the festival since its inception in an airplane hangar back in 1999. These guys (and girl) have been playing huge festivals like this since before most of the current bands on the bill have existed, and GusGus showed why they are still major players in the Icelandic music scene. Members of the audience were screaming for the group as soon as their openers finished, and the minute the first teeth-rattling bass note hit, it was absolute chaos on the floor. Each member of the band wore a genuine smile as the venue shook with bass and dancing; singer Daníel Haraldsson owned the stage, dancing on monitors and playing to the crowd, who obviously adored him. GusGus proved that they have not lost a step.
Iceland Airwaves: Day 3: Reviews: Thee Attacks, Endless Dark, Caterpillarmen 11.03
By Becky Nystedt
What better way to kick off Saturday of Iceland Airwaves with some unabashed, in-your-face, rock ‘n’ roll. With a high energized crowd, Denmark rockers, Thee Attacks, took the stage with their raw attitude a bit after midnight on Saturday at Gamli Gaukurinn. With graffiti and band signatures all over the walls and even the ceilings, rock memorabilia displayed throughout this venue, and a bass drum and pedal cleverly disguised as a soda and beer tap, this particular venue was a prime location for Thee Attacks to perform.
Next up on the bill at Gamli was Icelandic post-hardcore metal band, Endless Dark. The seven piece group absolutely dominated the stage. The house lights went dark and the stage light lit up, followed by the entrance of hard-hitting guitars and loud drums. This seven piece band owned the tiny stage, with screeching guitars, raw screaming vocals, heavy hitting beats. It was intense feeling the venue floor shake from their heavy-hitting breakdowns. The audience was head-banging and singing along throughout their whole set.
Later in the evening at Reykjavík Backpacker’s, Icelandic rock band, Caterpillarmen, took the stage. Backpacker’s gives the vibe that it’s a place to go check out local bands, and has a very relaxed atmosphere, but as the band came on stage, the venue was anything but calm. This crazy quartet consisted of the common drum/bass/guitar combination, along with two electric rotor organs. Quite a few of their songs were under a minute in length, and sounded somewhat comical, cartoony, and like something that could potentially be in a video game. Then there were a few songs that lasted a bit longer, with slow, echoing guitar riffs and a rough voice from the frontman that set the feeling of a ‘70s rock band. With the combination of what could be labeled as progressive and garage rock by this group, made for an interesting set inside Backpacker’s.
By Jack Collier
Markéta Irglová at Kaffibarin
It was crowded, people were pushing, and, despite the chilly temperature and impossible wind outside, it was hot and sweaty inside.
This sounds like a description of a teen punk show, or maybe a seen from a rave.
Actually it was at Markéta Irglová’s show. The star of acclaimed film Once, which chronicled the tale of her collaboartions with Irish busker and The Swell Season bandmate, Glen Hansard, packed Kaffibarin to the brim – so much that the line extended out the door and onto the street. People stood wherever they could, even on top of each other, to catch a glimpse of the singer-songwriter and current Reykjavík inhabitant.
Hailing from the Czech Republic, Irglová’s crystalline voice glittered through the cramped space. Unbelievably thick silence allowed the singer’s voice to ease the crowd into her set with an a cappella song. She then started on the piano, effortlessly backing her pure voice through songs about travel, hardship, and love. The singer told the audience of her travels thus far, travels that took her all over Europe in search of a home. After many tries and fails she’s settled now in Iceland, where she said the people welcomed her as though she were family.
Welcomed she was. Irglová was a pitch-perfect songbird amid the harsh Icelandic weather, a homey presence and a melodic blanket. Her acoustic set made what could have been a very uncomfortable set instead a very cozy one.
Kira Kira at Harpa Kaldalon
When Kira Kira took the stage, I didn’t know what to expect. I half-expected the icy soundscape that they started with to be their intro, simply acclimating the audience before diving into structured, melodic song.
This couldn’t have been further from the truth. When sprite-like singer Carmen Hatton glided on stage wearing a flowy top by Icelandic designer Mundi Vondi, she accurately and non-verbally commanded the stage. Their set was instead one long, ambient foray, the sounds of the multiple instruments being played on stage echoing the enchanting Icelandic landscape. When Hatton opened her mouth, what came out was not human but the sound of a fairy, lush with reverb and breathy lust. They didn’t have a melody or the slightest hint of structure, but were instead a group of otherworldly talent, leading the audience to someplace else all together.
For the untrained listener to ambient music (me), Kira Kira proved a trusting guide into the fantasy world the genre can clearly provide.
Woodpigeon at Harpa Kaldalon
Canadian act Woodpigeon, whose real name is Mark Andrew Hamilton, was a shining beacon of the future of acoustic music. He was a folk artist in the best definition of the term, sharing stories love and heartbreak and even real stories, like the one about drowning children.
Woodpigeon had an incredible presence, without which his masterful storytelling wouldn’t have been as articulate. His clear imagery was furthered by his expert use of looping. Woodpigeon looped his vocals so seamlessly that it seemed like magic. He fingers plucked at his guitar like the instrument was not an instrument, but a page on which he was writing his story, his voice the ink, and his loops the rising and falling of expert calligraphy.
Folk clearly isn’t dead – it is being taken to new place with new technology, and it’s in good hands.
Dj KGB at Bakkus
It was an ecstatic night – music blasting, strobe lights flashing, writhing bodies pulsating to the throbbing beat. Glasses clanked and cheeks were kissed and hand stayed indefinitely in the air.
However, it was a night of sadness, too. Bakkus, a club on Lagavageur in downtown Reykjavík, was having it’s last hurrah before being shut down. In my short time in Reykjavík, the club has already become my favorite destination, and I was saddened by it’s closing. One of the girls that worked there (admittedly drunk), who never told me her name, cried on my shoulder because it was the only place that “felt like home” to her.
DJ KGB was a perfect resident DJ to send out the dying venue. He seamlessly blended songs by London rapper M.I.A. with airy Icelandic synths, the heavy kick drum ever-present and ever-guiding beneath it. He mixed 14-minute long disco tracks without flaw against modern floor fillers. The few that stood against the walls didn’t stay long, entranced by the flashing flights and wild antics on the floor.
When the music stopped, it stopped with a bittersweet happiness, and as the attendees left the venue for the last time, they left behind the elated ghosts that will stand testament to the uniting freedom only a beloved dance floor can provide.
By Madeline Dowling
Blouse played at Deutsche Bar last night and totally killed it. While trying to describe Blouse, it feels strange verbally to call them shoegaze-pop, but sonically Blouse realizes both of those decriptions. With the dreamy, silky vocals of Charlie Hilton, this dream-pop band could definitely pass for Icelandic save for their West coast USA accents. Hilton’s vocals are contrasted by the harsh bass and drums but complimented by the glittery synth. Perhaps intentionally, Hilton was also wearing a really interesting blouse paired with black lamé hot pants.
Þórir Georg was the quiet kid at your high school who surprised everyone with his talent at the senior talent show. The homecoming queen may have beat him out with her baton twirling routine, but no one ever thought of him the same way again. With just acoustic guitar, and echo laden vocals, Georg evoked quaint scenes of heartbreak and romance. He hardly looked up from his shoes during his set at Bar 11, and his only stage banter was a quick “takk” (the Icelandic word for “thanks”) in the few seconds between songs. Þórir Georg is clearly a shy guy, but also filled to the brim with talent and earnest music.
However trite it is to compare a female Icelandic vocaltist to Bjork, one can’t help but do so with Mammút’s Kata. This band had the most girl power group at the festival with 3/5ths of the group possessing the female reproductive organs. Even the person doing sound at this gig at Bakkus was a woman. The band sheepishly grinned at eachother through their entire sets, thrilled just to be making music together and sharing it with an audience.
Oyama played at Barr 11 and encourage the seated audience to get up close and personal with the stage. The female vocalist, Julia, could easily be a front runner on Iceland’s Next Top model, surrounded by her band of misfits in Oyama. The band is incredibly skilled at the post-rock build up made so popular by bands like Explosions in the Sky. The band easily has a heavy shoegaze sound of their own, but the track “Dinosaur” could have been written by Dinosaur Jr. themselves. In their final song, “Garden,” Úlfur and Julia lament “I’ll sleep when I’m awake, I’ll wake when I’m asleep.”
By Sidney Hall
My band Spider to the Fly performed a musical cultural exchange with Icelandic indie-folk band Árstíðir. The idea was to teach them an American folk song and in return they could teach us an Icelandic one. Árstíðir translates to “seasons” in English. The band recently released an EP called Tvíeind and an electronic remix album. They also have just returned from a tour around Germany and Russia and they invited us to their home for lunch. As the food was being prepared, Árstíðir sang a beautiful a cappella song that they wrote in the style of an Icelandic hymn. Cellist, Hallgrímur Jónas Jensson explained that traditional Icelandic hymns are mostly acappella and the voices are all aranged in 5ths. We ate brunch with the band and their family and friends while breaking the ice by exchanging whimsical antidotes about our stay in Iceland. After brunch, Spider to the Fly (composed of me and fellow student on the Iceland trip, Jack Collier) and Árstíðir gathered round in a circle and we taught them our rendition of the American folk song, “Be My Husband”. Árstíðir is not only a very talented group of musicians but they are wonderful people. They welcomed us with warm hearts and great food!
After our jam session, we all rushed to Nordic House where Árstíðir had their next set. All members of Árstíðir are talented vocalists and their instrumentation is remarkable to say the least with Hallgrímur Jónas Jensson on the cello, Karl Aldinsteinn Pestka on the violin, Gunnar Már Jakobsson on guitar, Daniel Auðunsson also on guitar, Ragnar Ólafsson on braitone guitar and Jón Elísson on piano. They played songs with soft melodies and beautiful moving lines to a full house. The violin and piano served as a thin layer of icing to the thick texture of guitars and cello. “Shades” stood out amongst the other songs because of its violent nature. Windy ambiance played in the background as the everyone shredded away. Finally they sung one last a cappella song as a beautiful thank you and farewell to their audience.
Following their set, it was time to review some other bands at the fest.
Þoka was formed in early 2012 by guitarist Reynir Hauksson and keyboardist Heimir Klemenzson. In 2012, Þoka won 2nd place in the Icelandic band contest Músiktilraunir. The lead singer, Agnes Björgvinsdóttir graced the audience with her soulful alto voice. Agnes was sporting a beautiful white beaded headdress. Although all their songs are written in Icelandic, they like to pick titles that make sense in English.
Myrká is a goth rock group that define themselves as death pop. Myrká translates to dark river and their name is based off of the ghost tale of Deacon Myrká. The band was founded in 2009 and they released their debut album “13” in April 2010. In 2010 they were invited to play at M.E.A.N.Y. Fest in New York. Only half of the band played tonight because of delayed flights due to bad weather in their home town of Akureyri. Lead singer Guðný Lára Gunnardóttir and keyboardist Stefan Vidarsson took the stage at Amsterdam. Guðný occasionally played her flute which created an interesting texture with the electric guitars and drums. The band performed a haunting remake of a song written about the Deacon of Myrká’s mistress Gudrún that was simply bone chilling. The audience could feel the pure dark energy channeled by Guðný as she sung tales of sorrow and rebirth.
Sisy Ey is a threesome of sisters Elín Ey, Elisabet Eyþórsdóttir and Sigríður Eyþórsdóttir along with en and producer Oculus. A deep disco house beat pulsated the wooden floors as hands pumped in the air. The three sisters sang in unison about a life of no regret. There style was reminiscent of early house with very simple lyrics and melody over a pounding beat.
By Becky Nystedt
On day two of Iceland Airwaves, I headed over to the Reykjavík Backpackers venue, where I caught then end of local Icelandic band Dizzy Ninjas. They were a very playful bunch, and announced themselves as “guy ninjas plus girl ninja.” The atmosphere of Backpackers was very warm and welcoming. They had a basement with a drumset and practice space, which resembled many house parties or underground shows that take place in someone’s basement- it had to be a great spot to check out up-and-coming artists, and stay in Reykjavík’s local music scene.
Back at the KEX hostel, rap duo, Úlfur Úlfur was. It was interesting listening to the “hip pop” emcees, but they did write songs with catchy melody lines. Later that evening, there was quite the hesitancy to go check out more bands, as the horrible weather was persistent. The artists at the Harpa venue this evening were too good not to go hear, so I bundled up and ventured out, on what seemed like an impossible trek . There, classical composer and pianist, Ólafur Arnalds performed an alluring set. Accompanied by a talented violinist and cellist, the trio performed his pieces, “Gleypa Okkur” and “Near Light,” and had the audience in a trance. Arnalds’ compositions are absolutely moving. His last piece he performed solo on a beautiful grand Fazioli piano, and it was written for someone he missed dearly; his grandmother. As the last notes were fading out, you could faintly hear the violinist echo the melody backstage. To me, that particular piece was a memento in music, a symbol of missing someone immensely. My heart broke and I could feel my eyes starting to tear..never have I been so moved.
By Madeline Dowling
Today at Bíó Paradís, an art house cinema in downtown Reykjavík, Plastic Gods brought some serious doom to festival goers. The six piece band played stoner-metal at a pace appropriate for Iceland: glacial. With the wind assaulting people on the streets all day, many people escaped into this movie theater lobby only to be assaulted again, this time by earth moving bass, hypnotic guitars, and the quintessential metal vocals I hesitate to call “screaming”.
Me and My Drummer played their sometimes adorable sometimes melancholy synth pop at Harpa Silfurberg to a packed room that had to be well over its advertised capacity of 840 seated guests. The front half of the hall was dancing enthusiastically while the back half decided that a consistent head bob was enough of a dance move for them. If there was a group gunning for the Miss Congeniality award of the festival, Me and My Drummer would win. Between songs there was extended praise for Reykjavík, the festival, and the long list of bands they’d become friends with over the past few days.
It is said that Eskimos have an unusually large number of words for snow because it’s such a central part of their lives. The stage set up for Kiriyama Family had five synthesizers, an unusually large number especially for a band of five guys, which demonstrates how central the synth sound is to their music. What Kiriyama Family proved tonight at Harpa Silfurberg is that a heavily electronic band with a frontman capable of crooning like a modern member of the Rat Pack is a good thing. Karl Bjarnarson’s vocals were smooth and charming, likely capturing more hearts than just mine. For their final song, the band was joined by an extremely proud saxophone player. He waved to girls in the crowd, pumped his fist triumphantly, and tried to get the crowd to wave their arms in unison–a move I thought had gone out of style since I saw it at an ‘NSync concert in 1999. When the saxophonist finished showboating and actually began playing the horn was marked by the firing of two confetti cannons.
Folk pop isn’t usually performed with a variety of electronic instruments but Tilbury does. The former solo project of Þormóður Dagsson evolved into a five piece band that played Deutsche Bar this evening. With Dagsson’s Elliot Smith vocals, fuzzy faux-vitntage synths, and dramatic drums, the band was able experiment with genre and still be recognizable as the same group.
By Sidney Hall
I began my day with wise insight to my future with Icelandic native and painter Inga Rósa Loftsdóttir by way of tarot card reading.
That’s Inga Rósa Loftsdóttir talking about her first encounters with tarot cards. As a child Inga remembers having a long break from school and having a lot of free time. As a result she and a friend began to learn the art of tarot card reading as a fun way of passing the time. Although her friend was better at memorizing card meanings, Inga learned the different strategies of fortune telling with ease. Later in life she revisited tarot card reading as an attempt to better her skills as a graphic artist and designed her own deck of cards. The cards are an abstract black and white interpretation of tarot. A lot of people in Iceland believe in Huldufolk or the hidden people and Loftsdóttir is one of them. She believes that things don’t have to be scientifically proven to exist. She went on to explain that there are many talented Icelandic natives who are spiritually connected to a higher power. Although she does not consider herself one of them, she likes to use tarot cards to help people think and reflect.
As an art student, she began to experiment creating tarot card designs. In 1988 through trial, error, and great determination, Loftsdóttir published her own deck of cards available in English and Icelandic. The designs are black and white interpretations of the traditional tarot deck. Lofsdóttir epxlains the reasoning behind this aesthetic.
After my reading, Inga even guided me through the treacherous Icelandic winds to Gjafir jarðar which means “earth gifts” in Icelandic. The spiritual shop was filled with stones and crystals of all shapes and sizes, books, spiritual cds, incense, and candles. Above all, they carried Inga’s tarot cards in both English and Icelandic. After purchasing some goods from Gjafir jarðar, I decided to take a pass on the violent winds and catch a cab to my next destination, Nordic House.
My Bubba and Mi is a duo that sings sweet lullabies inspired by the countryside. “Mi” represents the changing additional musicians that play with them on tour, in today’s case “Mi” was a female bassist. Bubba moved into My’s apartment in Copenhagen and the two ended up singing hymns together. They recorded their first album “How it’s done in Italy” and released their EP “Wild & You”. They sold over 3000 copies of their debut album and are signed to five different labels around the world. My and Bubba are currently working on a new album at an indisclosed jungle hideout. Bubba sipped from a coffee cup as the duo sang simple sweet melodies. The large hollow acoustics in Nordic House worked to their advantage as their soft voices echoed up through the paneled ceilings. Between songs, they engaged the crowd with light jokes and even asked the audience for requests. Bubba and My are very in-tuned with each other and occasionally locked eyes intensely while harmonizing. Their songs tell gentle stories of lovers, men, and the Italian countryside landscapes. In the middle of the set, Bubba and My take a “commercial break” and sang comical jingles that added a charming twist to their performance. In the end, they closed their set with a pleasant fair well a capella song.
The Nordic House served delicious coffee and cookies as Icelandic band Lockerbie took the stage. Lockerbie is known for their powerful ambient post rock sound but today they delivered an acoustic performance which is not their usual norm. The piano and acoustic guitar created a colorful palette of sounds.
The next stop was Nolo at Reykjavík Art Museum. They were brilliant, and totally in sync with each other while jamming out funky dance tunes. Nolo is a lo-fi band that formed in 2009 and have released an album named No-Lo-Fi. They are also releasing a new album soon.
Listen to Nolo on their Myspace page: http://www.myspace.com/homeofnolo
Mammút is an Icelandic band. They won the Icelandic battle of the bands after forming in 2004. In 2006, they debuted their self titled album and in 2008 their album Karkari won the Kraumur Icelandic awards for best album. They took the stage at the Reykjavik Museum fully equipped with their own graphics and light show.The voice of of lead singer, Kata was absolutley amazing some even compare it to Bjork. She belted an apocalyptic scream that made the crowd go wild. In the middle of their performance the crowd began to chant “Rauðilækur! Rauðilækur! Rauðilækur!” Kata explained that the band had not originally planned to play the song but they could not deny the energetic fans and the whole crowd sang along with her.
Listen to Mammút here http://www.myspace.com/mammut