múmweb September 2002

Interview by Tom Williams.



Interview with Örvar from múm (Part II)


1) How did the experience of recording at Hog Lighthouse differ from your previous recording sessions and what impact did this have on the album?
It had a huge impact on the album, but I can't or wont tell you how. I don't understand it like that in words and I don't want to, but it is there. This is one of the most amazing places I have been to and I wanna go there again as soon as I can. I think about it everyday.

2) Given the Americanization of much of the world, including Iceland, is preservation of Icelandic culture something that you feel is important?
Preservation of Icelandic culture is important to to us, but more important is the evolution of Icelandic culture. We have to be aware so we wont drown ourselves in disposable crap and cheap shit and that our culture moves in a different direction. There is room for the old traditions and we need them, but we have to keep building.

3) Does this (above) have anything to do with your recording a separate version of your album with the lyrics sung in Icelandic?
If not, why did you do this? There really was not any reason not to record it in Icelandic as well, we don't really have that many lyrics and some of them were in Icelandic in the first place anyway and some were in english.

4) In Iceland, as in America, the major media outlets are controlled by a handful of companies. What impact do you think this has had on music?
In Iceland it probably does not have as much effect as in America. There is little chance to make money in music, so most musicians are in it for totally different reasons. The big corporate hold on music in the world is dangerous and does its best to kill creativity. There are few things that go worse together as music and capitalism. Music is for the people and not for the rich people to get richer.

5) What role, if any, do you feel 12 Tónar has played in the surge of excellent music flowing from Reykjavik?
12 tónar brings us great music that people would normally not get. It's like a community center and its good for meeting and chatting and plotting. I think they definatly have played a role in strengthening music in Iceland, both by introducing new things and giving a way to get music between folks. They have gigs regularly and sell CDR's of young artists and old ones. Theter is this 85 year old woman in Iceland called Sigridur Nielsdottir that makes great electronic music. And she sings with her old woman voice.

6) What do you see as the advantage of performing with a drummer and how does this differ from the way you recorded the album?
Playing live with a drummer is much more fun than without one and it opens up many possibilities for us. Samuli Kosminen played with us on most of the album tracks, but its mostly just banging things that are not drums. After we recorded his stuff we cut it all up and scattered it over the songs.

7) What is the name of the drummer who played with you in Philly and New York and how did he come to play with you?
Like I said his name is Samuli Kosminen and he is from Helsinki. We met him while we were there with Kitchen Motors and we were paired with him for improvisations and it just fell together. He fits perfectly with what we do and he understands the music. We have also been playing with Adam Pierce from Mice Parade, when Samuli has been out with his accordion player. He is amazing.

8) What are you looking forward to the rest of this tour?
Well the tour is over now, it was great. Now I am more looking forward to doing something completely different, like having a personal crises or something in that vein. It's back to reality for me.

Japan



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