And "Go" begins accordingly, with Jónsi's signature coo, studio-chopped into a startling twinkle. Elated, I imagined this reduction of Jónsi's emblematic voice indicative of the stripped, back-to-basics reinvention that this album deserved. I was wrong. It only took seven seconds to bury all hope under four-to-the-floor theatrics, the drum-heavy frenzy that trampled "Agaetis"' depth and subtlety, giving way to latter-day Sigur Rós' canned euphoria.

Even the album's bright spots are marred by Samuli's perplexing choice to lean heavily on Sigur Rós' drum aesthetics. The breathy breakdown on "Animal arithmetic" arrives, beautiful and intimate, but it's almost immediately carried off by a frenetic mess of percussive garbage. And though lead single "Boy lilikoi" has some catchy moments, its melodramatic sense of urgency is stultifying. The drumless tracks, then, are welcome, but they come off more as Sigur Rós retreads than any real change in direction -- fittingly, the album closer "Heniglas" is drone-for-drone the same elegiac statement as SR closers "Heysátan" and "Avalon". On the whole, "Go" is little more than a would-be Sigur Rós long player -- it takes few chances, and those it does take are drowned out by increasingly histrionic arrangements. Am I the only one who remembers the days when Jónsi effortlessly accomplished "epic" without being overly busy or stiflingly melodramatic?

Don't get me wrong. I'm still a Sigur Rós-lifer who will listen to this album on repeat, until the busywork of it starts to seem intricately wrought, my heart full-stop when Jónsi croons "o hjartað" on "Heniglas". But when longtime producer John Best says he hasn't "felt this excited about a project since the time [he] first heard 'Agaetis byrjun', right back in 1999", he's just getting everyone's hopes up. Yeah right, John.]]> Wed, 14 Apr 2010 14:36:21 -0700 reviews http://www.itsatrap.com/n/32487-the-takeaway-show-mum http://www.itsatrap.com/n/32487-the-takeaway-show-mum http://www.itsatrap.com/n/32487-the-takeaway-show-mum#comments There's a new episode of The Takeaway Show featuring Múm: http://www.blogotheque.net/Mum,5170

1. Tomorrow night It's a Trap! Clubnights at Debaser Malmö celebrates it's 2-year anniversary (!!!) with a show featuring the excellent acts Pixie Carnation and Rolf Fabian & the Industry of Cool. Download a sample from the former here. I'm sure it's going to be a great time, so head on down! DJs will be playing tunes and hanging out 'till 3.

2. The new CD from "Reader's companion" alums The First Miles is here and ready for purchase. I've also posted the opening number for download below to further entice you.

3. There's a bunch of new feature content worth reading -- new reviews (finally!) of Hello Saferide (live) and Golden Kanine plus an interview with Múm.

4. And don't forget to check out our new netrelease from Hearts No Static! Five tracks of quality ambient rock for free download!

See you next week!

Múm have played over the years a very influential role in the Icelandic music scene -- sonically and ideologically -- and are undoubtedly one of the country's biggest music exports to date. With a brand new album in their sleeves ("Sing along to songs you don't know"), the band will soon be coming to the US for a series of gigs. Co-founder Örvar Þóreyjarson Smárason gives It's a Trap! an all-inclusive interview about Baltic choirs, changing Icelandic values, the IMF, and balloons.

In what way is "Sing along to songs you don't know" different to "Go go smear the poison ivy"?

Well it's two years younger. It's quieter, more easy-going, more relaxed and maybe more untangled. In "Go go smear the poison ivy" there were so many layers and so many things going on. This one is much simpler.

Was it easier to write as well?

I think so, yeah. It was mostly technically easier. On both albums the songs came out really quickly.

What do you mean with technically easier then?

On "Go go smear the poison ivy" we used approximately 160 channels. On this one a lot of the songs were really simple, we had one with only just vibraphones, strings and voice. And another one with only marimba, strings and voice. We've never really done stuff like that before and it was really fun to do.

It was apparently recorded in many different countries, Iceland, Estonia and Finland. I read something about Latvia as well.

We could actually say five different countries. Hildur recorded a lot of her vocals in Berlin and a lot of the early stuff like pianos were done in New York. But actually not Latvia. Well, there's a story about this: we went to Estonia to record the album and we needed a choir for few of the songs. But we hadn't actually contacted any choir before going to Estonia. We talked to some people and they started making phone calls in order to get us one. And all of a sudden we ended up having two choirs instead of none! One was a Latvian (Balsis) and one was an Estonian choir (Suisapäisa). Eventually we decided to use the Estonian one for the album and in parallel to do some recordings of old Múm songs from "Finally we are no one" and "Summer make good" with the Latvian choir.

What are you going to do with these recordings then?

As soon as we're done with the tour we will start thinking about releasing them, because they sound really good.

What do the songs on "Sing along to songs you don't know" talk about?

The lyrical part hasn't really changed throughout the albums. There's always this dream world-theme. But there are maybe more love songs on this one.

Are there any other projects in the pipeline?

Well, we might do some live stuff with the Balsis choir as well. We've been doing some radio theatre pieces. We did one last Christmas in Iceland and that one has just been nominated for the European Prize for Radio Theatre, so we are doing another radio theatre this autumn. Radio theatres are definitely one of our favourite things to work on.

Are there any artists you would like to collaborate with in the future?

I don't know, maybe. The thing is, we mostly like working with our friends. We live in a very local community and we keep on doing it like that.

What's the mood in Iceland right now after the protests?

There's a lot of disappointment in the air. People had many hopes. They felt something was changing. Thing is, we wanted real change, not just a change in government, just bring in new parties that act exactly the same way like the old ones. Actually we wanted a new constitution. But as soon as a new government was put in place everything went forgotten. So people are disappointed.

Do you feel something has been achieved?

Yes, I feel people now know that they have the power to change at least something. There has been a little bit of a change in the people's attitude from since the banking crisis happened, which is very good. A lot of the former materialistic thinking is not as highly-regarded now. Before there was only one rule in Iceland: money. It was getting extreme. You couldn't talk about any values or any ideals. The only thing that validated you as a person was how much money you earned.

What do you think still needs to be done?

We need a new constitution and a new way of thinking about democracy in Iceland. On the other hand, we shouldn't have entered the IMF programme and we should have been able to deal with Icesave in a better way. This makes no sense. We cannot pay this sort of loan. Normal people never saw this money. We never came close to it, but we end up paying it.

How everything that has happened has influenced the artistic creativity in Iceland?

Energy is always released when something changes. This definitely has a big impact on any creative thing.

And Múm in particular? Were you influenced artistically?

That's a really hard question. We wrote three songs in January while the protests were happening, but they weren't necessarily in any way connected.

The Icelandic music scene is thriving. Initiatives like Kitchen motors in the past, the creation of Iceland Music Export, and now Gogoyoko and Brak Records are interesting steps. What would you like happening in the future?

More of these collaborative things. Getting together and doing different stuff. And also being spontaneous. The best thing is when you don't know what's going to happen the next year. And actually these initiatives become boring when people know what to expect from them.

How does the Múm collective work?

In a non-structured way. There is no system. We keep the way we work very deconstructed. We just see what happens, we never had any plans. A lot of changes happen on their own. And this is definitely how we are keeping it.

What does the future hold for Múm?

We can't really see beyond the tour. We have a couple projects lined-up. Like I said, the radio theatre and the choir thing. When you're touring it's like being inside a balloon. You can't see anything outside.

Words and pictures by Vasilis Panagiotopoulos

10/21 - The Somerville Theatre, Somerville, MA
10/22 - First Unitarian Church, Philadelphia, PA
10/23 - black cat, Washington DC, Washington DC
10/24 - Le Poisson Rouge, New York, NY
10/26 - Le National, Montreal, Quebec
10/27 - Phoenix Concert Theatre, Toronto, Ontario
10/28 - Logan Square Auditorium, Chicago, IL
10/29 - McGuire Theater, Minneapolis, MN
11/01 - Marquee Room, Calgary, Alberta
11/02 - Richards on Richards, Vancouver BC
11/03 - Showbox at the Market, Seattle, WA
11/04 - Aladdin Theater, Portland, OR
11/05 - The Independent, San Francisco, CA
11/06 - El Rey Theatre, Los Angeles, CA
11/07 - Yost Theatre, Santa Ana, CA

08/25 - Melkweg, Amsterdam (NL)
08/26 - Exit 07, Luxembourg (LUX)
08/25 - Atomic Cafe, Munich (GER)
08/25 - Beatpol, Dresden (GER)
09/01 - Botanique, Brussels (BEL)
09/02 - Südpol, Lucerne (CH)
09/03 - Salzhaus, Winterthur (CH)
09/05 - Lido, Berlin (GER)
09/06 - Knust, Hamburg (GER)
09/07 - Gebäude 9, Cologne (GER)
09/08 - Maroquinierie, Paris (FRA)
09/09 - La Laiterie, Strasbourg (FRA)
09/10 - Radar Festival, Lille (FRA)

For A Minor Reflection have got a very mature sound, especially if you take into consideration that these guys are only 19 years old. References to Explosions in the Sky and Mogwai are unavoidable, but already being compared to such established acts is a big achievement for these young Icelanders. Last autumn they supported in 15 concerts across Europe fellow countrymen Sigur Rós. It's a Trap! went out for a drink with them and discovered that apart from good musicians they are very friendly and down to earth chaps.

How did you guys form?

Kjartan Holm (Kjarri), guitar: We basically started in 8th grade, when we were 13. Jói and I started this heavy metal duet in his garage with long hair and stuff. Elvar came and played bass. Then Guffi came.

Guðfinnur Sveinsson (Guffi), guitar: (Laughs) We met during a strip poker game! He invited me then to a band practice...

Why did you name the band 'For A Minor Reflection'? What does it mean?

KH: It actually doesn't mean anything. I don't remember actually how it was conceived. We thought "reflection" was a cool word and we wanted to use it.

What is exactly on the cover of your album?

KH: It is supposed to be a sun.

Jóhannes Ólafsson (Jói), drums: We drew it together.

How do you write your songs? Is there a standard procedure?

JO: There is no standard procedure. There is no method I guess, but we do it together eventually, but the idea maybe comes from Kjarri first and then we build around it and make the song structure around his ideas.

KH: We maybe write a song in two days but it takes like 50 years to develop it.

How was the experience of playing with Sigur Rós?

KH, JO: It was very surreal.

JO: We didn't realise what we were doing until we came home.

Which is the largest gig you did with them?

KH: In Alexandra Palace in London. It was 8500 people two nights in a row.

And without them?

KH: We played this gig in Iceland for 500 Japanese people on a large cruise ship that was sailing around the world.

Do you prefer the big gigs or rather more intimate settings?

KH: When we play in really small bars in Iceland in front of 200 people, when it's packed it has a really good character.

JO: On the other hand, it's fun playing on a very large stage.

KH: It's two different things I would say.

Would you ever consider getting a singer?

KH: We've been actually discussing that. We are going to make some experiments next week; if it fails we'll just stay instrumental.

Do you accept the post-rock tag?

KH: We really don't care.

How do you feel about the emerging Icelandic scene and what do you think sets the Icelandic music scene apart from the rest of Scandinavia?

KH: Iceland is pretty well known for these "weird" bands like Sigur Rós, Björk and Múm. But Iceland has these really good heavy metal and hardcore punk scene, really big scene. And it seems to be turning into some indie rock scene. So Iceland is not only the ambient stuff.

Are there any other Icelandic artists you respect and admire?

Elvar J. Guðmundsson, bass: Ólafur Arnolds. He's getting big in Germany and all over the world.

KH: And Sigur Rós of course. My favourite Icelandic rock band is Sudden Weather Change. They are kind of big in Iceland, but nobody knows them outside.

What are you currently listening at home?

KH: We really don't listen to the same music. I like hardcore, post-rock, jazz, Icelandic blues.

GS: I listen to Coldplay a lot.

KH: Yeah, Guffi is the sensitive one.

How did the economic crisis impact your life and music?

GS: (Laughs) We all live in the streets. We get food from the government.

How are the recordings for the second album going? When is it going to be finished?

KH: We are working on it. Hopefully we will start recording later this year.

Are you going to have a different approach this time?

JO: The last time we recorded an album was in a garage, small studio, we did it all live in the first take, and it only took us 6 hours. We were mixing the whole night before the day we released it.

Any plans for the future?

KH: Hopefully we can work as musicians. That's our main goal.

Words and picture by Vasilis Panagiotopoulos

Hjaltalín is one of the most promising new Icelandic bands that combine pop melodies, male/female vocals and an eclectic instrumentation. Their unusually large lineup consists of - apart from the regular guitar, bass & drums – a piano, accordion, bassoon, clarinet, cello and a violin. Their debut album "Sleepdrunk seasons" was released to great acclaim in Iceland in December 2007 and was produced by Benni Hemm Hemm and Gunni Tynes of Múm. They are currently touring Europe. It's a Trap! caught up with them in the Netherlands and Belgium and had a chat with drummer Axel Haraldsson and violinist Viktor Orri Arnason.

You were formed in 2006, and it was originally intended to be just one show. What's the story behind?

AH: There was this songwriting competition in our high school and we just got together, wrote the song and we were just going to compete in the competition, but then it just started rolling and then we kept on playing.

Did you eventually win the competition?

AH: No, we came second. A lot of people were really surprised that we actually won only the second place.

What is exactly on the cover of your album? How did you choose it?

AH: Originally it's a flower painting by a famous Icelandic painter, but it's been messed up. We took it and some guy made the circles.

VOA: We couldn't use the original one.

How come you got invited to support Cold War Kids? Did the band choose you?

AH: They needed some band to finish up their European tour. Our booking agent contacted them. They had already some other bands to choose from; they liked us and they chose us.

Was it fun playing with them?

AH: It was great!

Which place did you enjoy playing the most so far?

AH: Our release concert in Iceland. That was a great show!

How do you go about writing a song, especially with all these instruments?

AH: Most of the time Högni, our singer, comes up with the basic idea of a song and then we start jamming and people get their own thing into it and then it evolves into a complete song. Generally our singer writes most of the stuff.

Does he write the lyrics as well?

AH: No, a lot of our friends are doing the lyrics for us.

Are you classically trained?

VOA: Everybody has got classical training. For example Axel was in a jazz school, playing the drums and I was in classical school, playing the violin.

What do you usually listen to at home?

AH: No one in the band listens to the same stuff. I listen to all kinds of stuff.

VOA: I listen to a lot of classical music now; I was a lot more into rock and pop before.

AH: Me, rock and hip-hop and everything.

How do you feel about the emerging Icelandic scene and what do you think sets the Icelandic music scene apart from the rest of Scandinavia?

AH: The most famous of course are Björk, Sigur Rós and Múm and all this strange music.

VOA: I think you always have to come up with something new to break through everything else. If you have something new to give to music then everybody will notice you.

AH: If you see Iceland from the outside there is this strange music element going on. Of course there is everything on the Icelandic market, but the things that break out of Iceland are mostly some indie bands.

Any Icelandic artists you respect and admire?

VOA: Of course Sigur Rós and Björk. We used to listen to some guys called Ensimi.

AH: We are into the underground rock scene because we were in a punk band before Hjaltalín.

How did the economic crisis impact your life?

AH: It's much more expensive to tour Europe because the currency is so low in Iceland. I think it hasn't hit us yet.

VOA: It's mainly that we have to pay much more for everything now, but it doesn't affect us mentally.

AH: Maybe it will, I don't know. A lot of people are losing their jobs.

You are currently working on a second album. Is there going to be a different approach from "Sleepdrunk seasons"?

AH: We are discussing these things a lot right now. When we come home from this tour, we are going to record the first two songs that are going to be on the record and then we are going to write more stuff and see what happens.

VOA: I think we are going to stick of course to the elements of the instruments but of course there are going to be some changes of sound, maybe even darker because the last one was so bright. The new songs are a little bit darker.

When is it going to be released?

AH: We are talking about September this year. That's the goal right now.

Words and picture by Vasilis Panagiotopoulos

01. Týr - Regin smidur (DK)
02. Steep - Complete lack of ideals and integrity (FIN)
03. The Rasmus - Guilty (FIN)
04. Melody Club - Take me away (SWE)
05. Snook - Mister Cool (SWE)
06. Nightwish - Wish I had an angel (FIN)
07. Nine - Anxienty report (SWE)
08. Johnny Deluxe - Drömmer jeg? (DK)
09. Múm - Will the summer make good for our sins? (ICE)
10. Christian Walz - Wonderchild (SWE)

Challengers:
11. Mighty 44 - This love aint going on (FIN)
12. Nephew - Superliga (DK)
13. The Confusions - Window (SWE)]]> Thu, 14 Oct 2004 00:00:00 -0700 news http://www.itsatrap.com/n/13358 http://www.itsatrap.com/n/13358 http://www.itsatrap.com/n/13358#comments Here's this week's top 10 Nordic video chart from YLE/Morjen:

01. Týr - Regin smidur (DK)
02. The Rasmus - Guilty (FIN)
03. Melody Club - Take me away (SWE)
04. Nightwish - Wish I had an angel (FIN)
05. Nine - Anxienty report (SWE)
06. Bomfunk MC's - No way in hell (FIN)
07. Johnny Deluxe - Drömmer jeg? (DK)
08. Ville Pusa - I dina ögon (FIN)
09. Lazyboy - Facts of life (DK)
10. Snook - Mister Cool (SWE)

Challengers:
11. Steep - Complete lack of ideals and integrity (FIN)
12. Christian Walz - Wonderchild (SWE)
13. Múm - Will the summer make good for our sins? (ICE)]]> Thu, 07 Oct 2004 00:00:00 -0700 news http://www.itsatrap.com/n/14353 http://www.itsatrap.com/n/14353 http://www.itsatrap.com/n/14353#comments The latest Aquarius Records new release list features reviews and samples from Switchblade, Dungen, Mum, Thergothon the "Team Yamaha" comp (feat. Aavikko & Pluxus) and tons more: http://www.aquariusrecords.org/cat/newest.html]]> Mon, 19 Jul 2004 00:00:00 -0700 news http://www.itsatrap.com/n/15615 http://www.itsatrap.com/n/15615 http://www.itsatrap.com/n/15615#comments Pitchfork trashes on the new Múm record: http://www.pitchforkmedia.com/record-reviews/m/mum/summer-make-good.shtml
But on the other hand, PopMatters likes it: http://popmatters.com/music/reviews/m/mum-summer.shtml]]> Wed, 14 Apr 2004 00:00:00 -0700 news http://www.itsatrap.com/n/15625 http://www.itsatrap.com/n/15625 http://www.itsatrap.com/n/15625#comments Reknown Norwegian musician/artist Kim Hiorthøy is touring North America as support for Múm. Dates:

06/23 - Museum of Fine Arts (Calderwood Courtyard), Boston, MA
06/24 - Cabaret Music Hall, Montreal, QC
06/25 - Horseshoe Tavern, Toronto, ON
06/26 - Logan Square Auditorium, Chicago, IL
06/28 - Bottleneck, Lawrence, KS
06/29 - Bluebird Theater, Denver, CO]]> Tue, 13 Apr 2004 00:00:00 -0700 news http://www.itsatrap.com/n/16240 http://www.itsatrap.com/n/16240 http://www.itsatrap.com/n/16240#comments The first confirmations for Denmark's Spot10 Festival on June 4-5 in Aarhus: Tim Christensen, Thomas Dybdahl, Mum, José González, Kira & The Kindred Spirits, David & The Citizens, Hush, Mugison, Laakso, Larsen & Furious Jane, Powersolo, Martin Ryum and Sepiamusic. More info: http://www.spot10.dk/]]> Mon, 01 Mar 2004 00:00:00 -0800 news http://www.itsatrap.com/n/18842 http://www.itsatrap.com/n/18842 http://www.itsatrap.com/n/18842#comments A few of the many performers scheduled for Benicassim fest in Spain on August 8-10: Erlend Øye, Manual, Múm, The Raveonettes. More info: www.fiberfib.com]]> Wed, 23 Jul 2003 00:00:00 -0700 news