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…
(My brother and I without really planning it authored three year-in-review posts. We apologize for piling on with the rest of the (un)-civilized world.)
I have mentioned earlier my distrust for lists and the way that they distort issues of judgment (something that on its own has issues). See, for instance, the recent “50 Best Rap Songs” offered up by Rolling Stone. (It unfairly emphasizes older and ‘original’ rappers—for the most part not on aesthetic grounds I suspect, but rather because the polled ‘experts’ both suffer from age-laden nostalgia and from the critic-typical desire to seem authoritative by tracing things back to their origins.)
The act of publishing such nonsense is of course intentionally provocative: it invites dispute, debate and engagement with the topic. And, even such a purposeful misrepresentation of the ‘quality’ relations among various artists or examples of the artists can have the salutary effect of forcing critics and their audiences to develop ad hoc if not more evolved standards for making such decisions.
At the end, however, listing is arbitrary at some fundamental level. But, of course, arbitrariness can be quite fulfilling on its own. So, I am ending the year with a list that is doubly arbitrary. Here is a list, from worst to best, of the albums I bought in 2012. The album did not have to be issued in 2012. Nope, this is purely about whatever I acquired and how I feel about it.