Filed under: Interviews
Pop Is Dead:
First of all we just want to know where you interest in music began? Which bands or artists inspired you?
Valgeir:
I was probably 9 years old. My older cousins were into Punk and New Wave and always had the latest records. So I would hang around them and be fed a lot of music.
The Clash… and all that scene. And I gradually was more drawn to the electronic stuff in their collection. Krafwerk, early Depeche Mode and then I had a big love for Japan and David Sylvian, Brian Eno. I also loved Roxy Music. I got my first guitar when I was nine and was in a “punk-band”
Then in my teens I got somehow more and more drawn to classical music, which is weird as there was absolutely none anywhere around me,except that my sister was studying piano….
P:
Would you say that’s what brought the more orchestral style into your work?
V:
I was drawn to they synthesis of electronic sounds and acoustic instruments very early on
and I love the raw energy of something that is not controlled (improvised), versus the craftsmanship and precision of scored music.
P:
Is that why you were attracted to some-one like Sam? Some-one who’s performance is different every time?
V:
Well, yeah I love that about him. There are many things that I love about Sam. But I didn’t know all that about him before we started working together, it was sort of a discovery… I just liked his approach to these songs in the first place and felt that I could bring it further.
P:
There is a careful balance of the Raw folk of his sounds combined with the fuller deeper arrangements behind it. How did this relationship with the rest of The Bedroom Community?
V:
Nico played me Sam’s first album and I was hooked. We talked about me re-working that album, as I felt that I would need to change stuff, but then it made much more sense to leave it as it was and work on the next one together.
P:
Speaking of next albums, how is the newest album coming along? Does it still follow the same format of the previous two, with covers of Appalachian folk songs, or has it moved in a different direction?
V:
It follows that path, Appalachian folk songs and old source material. There is a brand new song, a cover, there too and Sam is becoming somewhat more of a composer in the sense that he’s re-composing and even composing now. Sonically it is very different though. I don’t want to talk about it too much at this stage. As the album is just in the finishing stages. But, holy shit, it’s going to be amazing!!!
P:
Haha. We can’t wait to hear it. How was Whale Watching?
V:
Awesome
P:
Where was your favourite place you stopped?
V:
Difficult one…We almost did this non-stop.Really, there are two things that you take away from a tour like this.The first is the performance, was it good.. could it have been better.. how? and how was the crowd, then venue… etc.. The second: how was the food we ate?
These did not always go hand in hand.My favorite shows were in Madrid, Copenhagen, Leipzig… But Sevilla wins for the best food!
P:
I can imagine.Do you have any plans for future solo work?
V:
YES! I’m reserving early 2010 for writing,so I’m going to see how that goes, but hopefully I can finish a record next year. Let’s see if it comes out 2010 or 2011
I’m also releasing a soundtrack album soon.Music I composed for an Icelandic film, Dreamland. So, I’ve been writing, but it’s not exactly a follow-up to Ekvílibríum…
P:
How does it differ? Are you writing differently, or purposefully going for a different style?
V:
I’m approaching it quite differently, yes. This is written with the mood of the film in mind, it’s the underscore to a dark and bleak documentary about destruction of Icelandic nature to provide energy for foreign corporations, and the music was written with a small orchestra in mind
P:
Your style is very remeniscent of artists like Brian Eno. This whole soundscape idea has started to become more and more popular, with the likes of Post-Rock bands and Electronica. How do you see this developing in the future? Do you think it will enjoy a more mainstream success?
V:
Hahaha, I have no idea. I never ever think about mainstream success. I have no idea what it even is, but I fear that it may be evil.
P:
You probably have a point
What do you think about the music scene currently? Are there any bands you like or would like to work with?
V:
I’m working with so many great people already, but there are always new adventures around the corner. I’m excited to work with Puzzle Muteson, possibly for Bedroom Community. He’s amazing. We’ve also just added a new artist to Bedroom Community, an Icelandic composer Daníel Bjarnason. He is awesome, we’re releasing his first album early 2010 and we are already working on his second album… I’m never really comfortable talking about projects that I am working on outside of Bedroom Community, as it always seems to early, but I’ve also been working on some records that I’m really excited to see released in the coming months.. If Beyoncé is reading this; give me a call!
P:
We’ll let her know
Having a back ground in production, was it moving you outside of your comfort zone to play live, or did it feel natural?
V:
It was very unnatural… haha. But I had done plenty of live performance through the years. But it was a logical step, after releasing my own music, just took a while to get used to
P:
You’ve worked with many artists over the years, in various roles. What is it like to work with someone like Bjork or Bonnie Prince Billy?
V:
These two for example are as different as possible. What I love about working with all these different people is that it always opens up something new.
P:
Well i think that’s all we really need to know. Thanks alot, it’s been a pleasure talking to you. Good luck with 2010
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