Með suð í eyrum við spilum endalaust
Með suð í eyrum við spilum endalaustI first recall becoming aware of Sigur Rós after being struck by the 3 songs of theirs which featured on the soundtrack to Cameron Crowe's 2001 film Vanilla Sky. Those songs led me to immediately track down 1999's Ágætis byrjun (Icelandic for "An alright start"). I was very glad I did and the band have provided many hours of listening pleasure since then. Their name is taken from founder member Jón Birgisson's younger sister Sigurrós, who was born the same day as the band was formed in 1994. You could say Sigur Rós could translate as "Victory Rose" in English but the phrase wouldn't carry any meaning in Iceland and is grammatically incorrect.

The vocals on Ágætis byrjun are sung mainly in Icelandic, a language of which I have almost no understanding, so they just add to the already sumptuous orchestration on show rather than distracting from it in the way some English vocals tend to do. Their earlier music employed luxuriously long running times along with vast swells of post-rock noise. I have heard the music of their first 3 albums described as sounding like "glaciers drifting across the surface of the moon" and I cannot improve upon that as a mental image. The band is fronted by Jón "Jónsi" Þór Birgisson, whose use of a cello bow for playing guitar and liking for plenty of delay and reverb effects alongside his ethereal falsetto singing voice give the band their distinctive sound. One track on Ágætis byrjun, namely Olsen Olsen, introduced the listener to the gibberish language Vonlenska (or "Hopelandic" in tortured English) the band was to use exclusively on their () album in 2002. The language resembles Icelandic in the way it sounds but it is a constructed language of nonsense syllables and with there being no song titles, or indeed a title for the album, the listener was left to fill in their own meanings in the pages of the blank CD booklet supplied.

The band's music reached a very wide audience after their single Hoppípolla (taken from 2005's Takk...) was used in the title sequence of the BBC nature series Planet Earth in 2006. It was subsequently also used in BBC Sport's coverage of the 2006 Fifa World Cup and on various TV adverts. I can regularly pick out Sigur Rós tracks on random documentaries and TV series these days. Their music moved away from the minimalist other-worldly instrumentation of Ágætis byrjun and () with the release of the guitar-heavy Takk... and the increase in more conventional song structure continues with their new release Með suð í eyrum við spilum endalaust, which translates as "With a Buzz in Our Ears We Play Endlessly". There is one big difference between the new record and Takk..., apart from the absence of bowed, effects-laden, electric guitar and that's a completely different approach to production. Whereas () and Takk... belted out veritable walls of sound here there is a more delicate touch at play. The vastly experienced Flood (of U2, Smashing Pumpkins, Placebo, Depeche Mode, Goldfrapp and Nine Inch Nails audio engineer fame) takes up production duties on this Sigur Rós's fifth full-length album.

Actually, there's a second big difference between this and Takk... This album sounds fresh whereas Takk... sounded a little like a great band just going through the motions. Með suð í eyrum við spilum endalaust's first track, Gobbledigook, is like nothing Sigur Rós have released before. Upbeat, insistent drumming and playful acoustic guitar. Clocking in at just over 3 minutes it's also alarmingly short for a Sigur Rós track. There are, however, frequent returns to the Sigur Rós style of records past, strikingly so in the beautiful Fljótavík, but overall it seems that this is a definite change of direction for the band. That's no bad thing as they could easily have descended into the complacency that some portions of Takk... seemed to herald.

The second track, Inní mér syngur vitleysingur, continues with the upbeat, joyous feel of the opener before dropping the listener off into the soft acoustic beauty of Góðan daginn. Following the crashing post-rock crescendo of Festival, the second half of the album does move towards more familiar Sigur Rós soundscapes and there are even a couple of tracks which top the eight minute duration mark, which used to be almost mandatory for this band. After a couple of initially surprised listens to the album I'm now completely at ease with it and see it as being a shoo-in for my end-of-year top 10.

As a footnote I would say that if you are a fan of Sigur Rós, either new or long-standing, and have not had the good fortune to stumble upon their compatriots Múm, you should try to rectify that at your earliest convenience.
Written by Kevin   
Monday, 29 September 2008 15:47
 
A walk to Cramond Island

Cramond IslandAs the name implies, this island lies off Cramond on the north-western edge of Edinburgh. Covering an area of around 19 acres, it is one third of a mile long and stands nearly a mile from the shoreline at the estuary of the River Almond. It is currently part of the Dalmeny Estate, and strictly speaking it is not a true island at all, but a tidal island being connected to the mainland at low tide and also by a long causeway. This allows easy access for intrepid walkers wishing to cross over and visit. At high tide the island is completely cut off from the mainland with the path lying several feet below sea level. It is safe to cross to the island during a time window covering 2 hours before low tide until roughly 2 hours after. If you do miss the tide, and are cut off, you will be staying the night there.

The Cramond area is rich in history, and archaeological excavations there have uncovered evidence of habitation dating to around 8500 BC, making it the earliest known site of human settlement in Scotland. There is also evidence to suggest that the nearby island may have had special significance to the prehistoric peoples who lived along the coast of the Firth of Forth, as at least one stone burial cist has been found there.

Within the grounds of Cramond Kirk are the remains of a large Roman fort or station. This place was known to the Romans as Alaterva. A stone altar dug up in the grounds of Cramond House carries the Latin inscription Matribus Alatervis et Matribus Campestribus, a dedication to 'the mothers of Alaterva and of the fields'. Around AD 142, the Roman forces under Emperor Antoninus Pius arrived at Cramond to establish a fort at the mouth of the River Almond. This fort would guard the eastern side of the land the Romans had managed to wrest from the hands of the iron age inhabitants in what is now south eastern Scotland, the Votadini. Nearly five hundred men worked on the site, building a fort that covered nearly six acres and a harbour for communication. However, the fort was only inhabited for perhaps fifteen years, before it was abandoned by the troops who were ordered to retreat south to Hadrian's Wall.

In the centuries following the end of the Roman occupation, Cramond passed back into the hands of the Votadini and they gave the settlement the name it carries to this day. Cramond is derived from the brythonic (brittonic) compound Caer Amon, meaning 'fort on the river', referring to the Roman fort that lay on the River Almond.

Submarine protection boomAt the outbreak of the second world war, Cramond Island - along with other islands in the Forth estuary - was fortified to protect the coasts in the event of enemy warships entering the channel. A large number of these buildings still remain on the island and can be explored by visitors. The line of concrete pylons on one side of the causeway were constructed as a submarine defence boom and are one of the most striking sights in the area. After crossing the causeway, the first structures that can be seen are the emplacements for a 75mm gun and its associated searchlight. More buildings can be found in the north-east corner of the island, including a variety of stores, shelters and gun emplacements, as well as two engine rooms that once contained all the equipment necessary to supply power to the military installations on the island. The debris from recent al fresco piss-ups, including broken glass, impromptu fireplaces and a certain 'aroma' does mar the interiors of many of these buildings. However, I still vividly remember being 17 and all that comes with it and therefore cannot frown too hard at this without engendering feelings of rank hypocrisy.

View to the westIt may come as a surprise to many to learn that, until the 1930s, there was an inhabited farmhouse towards the centre of the island and that sheep were still present on the island until the 1960s. The remains of the stone-built farmhouse can still be found half hidden in trees. On the census of 1901 there are three people listed as resident on the island. James Hogg (59), the head farmer, his nephew Peter Hogg (29, son of his unmarried sister Helen) as his assistant and a Margaret Gibb (21), the housekeeper. Unsurprisingly perhaps, given the rather limited scope for meeting other young people, Peter and Margaret married in 1903, both "of Cramond Island".

There are also a couple of secluded sandy beaches on the island's western side. They command a good view down to the famous bridges over the Forth and also across to Dalmeny House. Cramond Island has also been used in more recent times as an informal venue for 'Punx Picnics' but, with the addition of a stage built by the organisers of the European City of Punk, has now become a fully fledged venue. The island is reported to have also hosted a Terry Wogan lookalike competition in 2003. Terry himself was allegedly present, but unfortunately he only came third.

After your visit to the island I can recommend a visit to the Cramond Inn. A good cosy pub which serves some of the cheapest beer to be found in Edinburgh. The food is also worthy of note.

There are further photographs taken on the island to be found in the Gallery section of this website.

Written by Kevin   
Friday, 12 September 2008 08:41
 
Sasha - Invol2ver
Invol2ver coverI've been listening to Sasha's deep, dark but blissful DJ mixes since around 1994's inaugural Renaissance Mix Collection Vol.1 (with John Digweed) and remember absolutely loving his Voyage of Ima which made up a large portion of the BT (Brian Transeau) album Ima the following year. 2000's Communicate, again with Digweed, is arguably my favourite DJ mix album alongside 2004's Involver. With that mix Sasha raised the bar for compilation DJ mixes fairly high and it withstands many many repeat listens. The official follow up to Involver would have its work cut out to be able to bear any sort of comparison to its forerunner. If truth be told, some of Sasha's recent releases have been a little underwhelming, given his reputation and undoubted enormous talent.

So, has the 4-year wait been worth it? The short answer in this case would have to be yes. Invol2ver is stuffed full of multi-layered, beautifully manicured soundscapes, swirling, effects-heavy vocals and head-nodding kick drums. 2004s Involver does contain perhaps more variation in style and is probably the better of the two releases, but there is a lot to enjoy in the 2008 follow up.

The album starts off in very promising style with a swirling atmospheric opening which blends seamlessly into Sasha's remixed version of Telefon Tel Aviv's You Are The Worst Thing In The World. The tempo is slow and steady and you are fondly reminded of Involver's fantastic opening version of Grand National's Talk Amongst Yourselves. The transition from the Telefon Tel Aviv track through Rone's Flesh and Sasha's own, fairly anonymous tracks Eclipse and Lowlife to the fantastic mid-section of the album perhaps takes a shade too long, but you are rewarded for your patience.

Remixes of Charlie May's Midnight and Apparat's Arcadia combine to darkly hypnotic effect and the album takes off again. The Invol2ver mix of Ladytron's Destroy Everything You Touch throbs along nicely and before you notice it you are being immersed in M83's anthemic Couleurs, a high point for the album which is enhanced as the vocal for Thom Yorke's The Eraser is worked into the M83 track with a deftness of touch.

The penultimate track is another of Sasha's own, 3 Little Piggys, and it is with some of his own tracks that I feel Sasha lets his compilation mixes down a little. I find them to be a little same-y and not really that interesting. He is, in my opinion, much much more successful when working with the music of other artists who have obviously moved him to the point of choosing them over any others and re-working them for inclusion on his mixes.

The closing track, Sometimes I Realise by Engineers does lift things again and provides an epic close to another job well done from the pride of Wales, Alexander Coe (AKA Sasha).

Track list:

1. Badger - Intro
2. Telefon Tel Aviv - You Are The Worst Thing In The World (Invol2ver Remix)
3. Rone - Flesh (Invol2ver Remix)
4. Sasha Vs Ray LaMontagne - Eclipse (Ray LaMontagne Vocal Version)
5. Sasha Vs Adam Parker - Lowlife (Adam Parker Vocal Sample)
6. Charlie May - Midnight (Adam Parker Vocal Sample)
7. Apparat - Arcadia (Invol2ver Remix)
8. Home Video - That You Might (Invol2ver Remix)
9. Ladytron - Destroy Everything You Touch (Invol2ver Remix)
10. M83 - Couleurs (Invol2ver Remix)
11. Thom Yorke - The Eraser (Invol2ver Remix)
12. Sasha - 3 Little Piggys
13. Engineers - Sometimes I Realise (Invol2ver Remix)
Written by Kevin   
Thursday, 11 September 2008 14:50
 
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