Check out this interview with a drummer from one of the most unique bands in music today (Sigur Ros). I haven’t talked enough about how much I like this band, but maybe now I’ll get around to it. (And I owe the band a debt of gratitude, along with The Dirty Three they provided the soundtrack that made my dissertation possible…)
One of the concerts of this year we’re most looking forward to is Sigur Rós’ overdue visit to Miami. It’s scheduled to cap the Icelandic band’s current U.S. tour, which kicked off on Sept. 14 in Detroit. Last Friday, I suddenly learned I had the chance to chat for 10 minutes with the band’s longtime drummer/percussionist Orri Páll Dýrason, thanks to Live Nation and the “Miami New Times” pushing their agent for an interview.
The group was in Philadelphia and Dýrason was about to head in to rehearsal. I had many questions, but could only go superficial with such limited time— a bit sacrilegious for a band I have been following from the start, but it was a nice opportunity, so pardon if this post jumps from one topic to another. There is a link to a more cohesive piece at the bottom of this post, which gets into much…
A few weeks ago I ruminated on the difficulty of learning about music (in a dependable way) in an age when we are overwhelmed by both the number of bands available and the media outlets discussing them. It isn’t so much that there are more acts out there (though, there may be) but that we hear about them all. One of our frequent commenters, londongigger, who has a very nice blog where he reviews live shows, noted that in London there are literally thousands of performances a week.
From experience, I know that the scene is similar in places like New York City and Austin, Texas. Learning about new music by seeing the bands becomes a full job, a needle-in-the-haystack obsession. Who has the time (or money and stamina) to keep up with this?
At the same time, another thing I failed to mention is that the digital age has sapped the power of critics and tastemakers. While this is good (freeing up both artists and audiences from certain hegemonies) it has the unintended effect of splintering music experience and reducing the framework provided by a common canon of music. I don’t know if I am lamenting or just observing.
Anyway, writing this blog has both forced me to engage with newer music more fully and to seek out new artists at a faster pace than previous years. Recently, I have been aided in this by a younger friend, The Only D. After I reacted (with some speed) to his last list of suggestions, he hit me up with another.