GUDNADOTTIR, HILDUR / BJ NILSEN AND STILLUPPSTEYPA — Second Childhood
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"....Die Beschreibung der Musik ist recht einfach, weil eben nicht viel passiert. Umso schwieriger ist es, die hypnotisierende Wirkung zu erklären, die - meistens - davon ausgeht. Es ist spirituelle, inspirierende Musik, die ganz sicher etwas von der typisch isländisch-skandinavischen Wärme, Kraft, Magie und auch Dunkelheit hat. Künstler sind am Werk, die wissen und können, was sie tun. Denn anders wäre das Hervorrufen einer so tranceartigen Stimmung mit so 'bescheidenen' Mitteln kaum möglich. Freunde von SIGUR RÓS werden sich hier zu Hause fühlen, allerdings müssen sie auf die emotionalen Ausbrüche verzichten und mit den leisen Passagen vorlieb nehmen. Ich bin mir noch nicht endgültig darüber im Klaren, ob mir "Second Childhood" an manchen Stellen vielleicht etwas zu leise ist. Ganz sicher weiß ich aber, dass ich die CD noch viele, viele Male anhören werde, um das herauszufinden." [Michael We. für nonpop.de]
" Will there be a time when Stilluppsteypa will once again march out of the Icelandic tundra with a record all their own? It has been three years since Sigtryggur Berg Sigmarsson and Helgi Thorsson produced anything other than their collaborations with BJ Nilsen; but if things progress as they have through those two impeccable albums of glacial drone damage (Vikinga Brennivin and Drykkjuvisur
Ohljodanna) and a split LP only release, who the hell cares if they do anything by themselves? For the fourth time, the drunken cabal of Nilsen / Sigmarsson / Thorsson return to the mixing desk with their psychotropic drones laced with Haflerian absurdity; and here on Second Childhood, the three have recruited the upcoming avant-garde cellist Hildur Gudnadottir, who has previously worked with the likes of Mum, Pan Sonic, and Johann Johannsson. With the opening growl of scratched cello hypnosis plunging into a deep void of low end vibrations, the notions of this collective Second Childhood being warm and fuzzy go out the window with plenty of references to the blackened sprawl generated by the likes of Corrupted, Black Boned Angel, or anything on Battlecruiser. As bleak as gaping minimalism is on most of Second Childhood, the atmospheres do lighten a bit with some narcotic ambient passages of heavily processed guitars and cello that come across like a meeting between Andrew Chalk and Colleen. Yet, as the album comes to a close, the mind-numbingly heavy drones return with the addition of pulsing post-Sahkho rhythms lurking in the background as if somebody next door was thumping out a minimal techno groove. Pretty much everything that BJ Nilsen and Stilluppsteypa produce is well worth investigating, and this continues to be true for their ongoing collaborations. Brilliant." [Aquarius Records]
www.quecksilber.com
" Will there be a time when Stilluppsteypa will once again march out of the Icelandic tundra with a record all their own? It has been three years since Sigtryggur Berg Sigmarsson and Helgi Thorsson produced anything other than their collaborations with BJ Nilsen; but if things progress as they have through those two impeccable albums of glacial drone damage (Vikinga Brennivin and Drykkjuvisur
Ohljodanna) and a split LP only release, who the hell cares if they do anything by themselves? For the fourth time, the drunken cabal of Nilsen / Sigmarsson / Thorsson return to the mixing desk with their psychotropic drones laced with Haflerian absurdity; and here on Second Childhood, the three have recruited the upcoming avant-garde cellist Hildur Gudnadottir, who has previously worked with the likes of Mum, Pan Sonic, and Johann Johannsson. With the opening growl of scratched cello hypnosis plunging into a deep void of low end vibrations, the notions of this collective Second Childhood being warm and fuzzy go out the window with plenty of references to the blackened sprawl generated by the likes of Corrupted, Black Boned Angel, or anything on Battlecruiser. As bleak as gaping minimalism is on most of Second Childhood, the atmospheres do lighten a bit with some narcotic ambient passages of heavily processed guitars and cello that come across like a meeting between Andrew Chalk and Colleen. Yet, as the album comes to a close, the mind-numbingly heavy drones return with the addition of pulsing post-Sahkho rhythms lurking in the background as if somebody next door was thumping out a minimal techno groove. Pretty much everything that BJ Nilsen and Stilluppsteypa produce is well worth investigating, and this continues to be true for their ongoing collaborations. Brilliant." [Aquarius Records]
www.quecksilber.com