The Best of 2019

recordgraffitiAnd here we are, another year rapidly approaching the finish line, a half dozen days left before we close the book on the second decade of the 2000s, the 2020s anxiously awaiting their turn.  Will it be another Roaring 20s like the one that happened a decade ago?  I don’t know.  All I do know is that the older I get, the faster time seems to pass, slipping almost unnoticed until a season change makes you realize another three months slipped away, until another New Year’s moves another bead to the wrong side of the ledger.

All in all 2019 was a pretty great year in music, at least from my perspective.  We got some travel in and saw shows in four different countries.  We discovered some new favorite artists.  We made some new friends through music, and strengthened our bonds with old ones.  And I bought a lot of music.  A LOT of music.  Records, tapes, CDs, downloads… in the era of free and streaming, I’m still a bit of a luddite in preferring the physical, the tangible.

So, without further ado, here it is – the 8th annual Life in the Vinyl Lane “Best Of” post!

Top 5 New Releases in 2019

  1. I Don’t Know How To Be Happy – Deli Girls (US)
  2. Return – Foreign Monkeys (Iceland)
  3. Shlon – Omar Souleyman (Syria)
  4. OHMelectronic – OHMelectronic (Canada)
  5. Blizzard People Compilation (Iceland)

By my count I posted about 51 different 2019 releases this year, excluding re-releases.  There were also handful of things from this year I heard but didn’t write about for various reasons, including laziness.  While I posted about a few more new releases in 2018, I feel like overall my consumption of new music was about the same as last year.

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My favorite release for 2019 is Deli Girls’ I Don’t Know How To Be Happy.  This is perhaps an unusual selection for Life in the Vinyl Lane not because of the genre, which is in fact difficult to define, but instead because it never came out, to the best of my knowledge, on any kind of physical medium.  Nope.  This one was digital only.  And I’ve played the hell out of it.  A blend of techno, experimental electronica, power electronics, and punk, I Don’t Know How To Be Happy is one of the rawest things I’ve heard in a long time, like a hot spot on your arm that you can’t stop scratching even though you know you should.  The music grates on your sanity to create an emotional edginess before the vocals come in and pummel you into paste.  I couldn’t get enough of “Officer” and “I’d Rather Die” on my iPod, though that might say as much about my daily commute as it does about anything else.

Next up was the triumphant return of Iceland’s Foreign Monkeys after a decade-long hiatus, the appropriately named Return.  We loved their debut , and the follow-up put more emphasis on the garage rock side of their sound, stripping things down to the core elements.  For years we regretted that we’d never caught them at our first few Airwaves festivals, but this year we got the chance and jumped at it – and the album captured their live set well.  Omar Souleyman tried to sneak one past me late in the year, but I caught wind of Shlon in time to pre-order the vinyl (which comes out in January) and get the digital download.  I’m considering this part of 2019 since the download is available now.  Shlon definitely sounds like a Souleyman album, but it also shows more range than some of his previous works with some slower and more sonically emotional moments.  You can never go wrong with Omar Souleyman.

The Top 5 rounds out with some great EBM/industrial from Canada’s OHMelectronic and a comp out of Iceland called Blizzard People.  I debated on whether or not to include Blizzard People, since putting a comp on a list like this seems a bit lazy.  But here’s the thing, or more precisely things.  These six tracks are all relatively new.  And I’m certain I played this album more than any other in 2019.  Every song is a burner, and Logitech’s “Leather Forecast” is the best jam I heard all year.  Plus it’s my blog so I can do what I want, so there.

Top 5 “New to Me” Bands/Performers

  1. Deli Girls
  2. OHMelectronic
  3. Blóðmör
  4. Hula
  5. Hvörf

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I already mentioned the first two artists in my Top 5 New Releases list, so let’s start with Blóðmör.  I’ve been in contact with the band’s guitarist/vocalist Haukur for a number of years – we connected online due to our mutual love of the bands HAM and DIMMA.  What I didn’t know until this year, though, is that Haukur had his own metal band, and they had a huge 2019, releasing both a demo and the six-song Líkþorn.  Plus, you know, they won Iceland’s annual battle of the bands.  Pretty killer year.  We got to meet Haukur after the Blóðmör show at Gaukurinn during Airwaves, and he couldn’t have been nicer.  I’ll be keeping my eyes on these guys in the future.

Hula is a sort of industrial dub band I discovered in the used section of Seattle’s Jive Time Records and over the course of the year I picked up a half dozen of their records, each one of them all-killer-no-filler.  There are still some titles I don’t have and I’ll definitely pick them up as I come across them.  Last but not least is Hvörf, a new collaboration between two tremendous Icelandic musicians, Jóhannes Birgir Pálmason and Þórir Georg.  Their debut, Music Library 01, is an impressive collection of eight tracks in two distinct styles, a more classical-based mood-setter and one that’s a bit more spacey with dialogue sampling.  It was an unexpected surprise at the end of the year, and a welcome one.

Top 5 Purchases/Acquisitions

  1. Þagað Í Hel – Þeyr
  2. Soðin – Blóðmör
  3. Nælur Compilation
  4. Artoffact Records Sale
  5. Three Boxes of Free Stuff

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It’s a bit odd that of the top three purchases on this list, only one was vinyl.  But oh, what a huge one!  While I still try to resist describing myself as a “collector”, I do have a handful of items on my “want” list that are probably there as much due to their rarity as they are for the music.  And at the number one position for probably the last five years has been Þeyr’s 1980 debut Þagað Í Hel.  As part of the first wave of Icelandic punk most of their stuff is hard to find, having been pressed in small quantities and rarely exported.  But Þagað Í Hel takes it to a different level, as I’ve been told that much of the print run was returned due to pressing flaws (and my copy has one of these on the B side) and the masters were destroyed so the songs themselves exist only on this vinyl release.  I had an alert set on Discogs for it, and the second a copy showed up for sale from Sweden I bought it, no questions asked.  That process seemed a bit anti-climactic, but I’m still glad to have the record.

Blóðmör’s super-limited live demo tape Soðin and the Nælur compilation CD both came to me via a good friend of mine in Iceland who always hooks me up with amazing stuff, and these two have been getting a lot of play since our return from Reykjavik.  The Artoffact label online sale resulted in a huge box of vinyl and CDs arriving on our doorstep, turning me onto a bunch of new-to-me bands like OHMelectronic, Individual Totem, and Images in Vogue, as well as giving me my first exposure to Die Krupps.  The last spot on the list is held down by three massive and heavy boxes of 1960s and 70s rock I got for free from someone at work.  A lot of it was stuff I’m not interested in, and quite a few of the jackets were water damaged and moldy, but I still pulled some gems out out there, and even though I had to throw out the jackets of the firs six Sabbath albums, the records inside were pristine, so I can’t complain.

Top 5 Live Shows

  1. A-Ha – Royal Albert Hall, London
  2. Fufanu – Urban Spree, Berlin
  3. Hatari – Reykjavik Art Museum, Reykjavik
  4. Hermigerville – Lucky Records, Reykjavik
  5. Foreign Monkeys – Jörgensen Kitchen & Bar, Reykjavik

We weren’t able to attend Iceland Airwaves in 2018, an absence that broke our nine year run of consecutive visits.  And in reflecting on it I realized what I missed the most was not, believe it or not, the music, though that was still a gaping hole in my November.  No, what I missed the most was seeing all the people who have become our friends over the course of a decade’s worth of Airwaves.  We have an entire crew’s wroth of friends who live in Reykjavik – Ingvar, Mumbi, Gestur, Jóhannes, Einar, Bob, Reynir, Leana, the hilarious shit-talking guy who runs the restaurant Shalimar… plus all our friends who travel in from points all over the globe – Tristen and Andy (US), Matt and Tanya (Canada), the KEXP crew (especially Kevin and Jim), Paul (Scotland)… it takes a village.  And this year we extended our Airwaves family even further, spending time with Rob and Olie and Oscar and Sarah… that’s what makes Airwaves so special.

Anyway, now that I’ve waxed poetic about that, the best show was, hands down, A-Ha at Royal Albert Hall (below).  When I told people we were going to that show I was surprised by how many people my age did not remember A-Ha at all, and those who did generally only knew them for “Take On Me”.  I forget how much of a nerd I am sometimes, as well as how big of an A-Ha fan Mrs. Life in the Vinyl Lane is.  So we made a special effort to see this show, and it was worth it.  The first set saw the band playing the entire Hunting High and Low album in order, and after a break they then went into a second set of their other material.  The venue was amazing, the sound perfect, and the video work tremendous.

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Fufanu playing in Berlin while we were there was an unexpected surprise, one we made sure to take advantage of.  Seeing them in a small venue like this was great and they were on top of their game.  The other three shows on the list were all from Airwaves, and two of them were off-venue.  Hermigerville’s set at Lucky Records was, unquestionably, the most fun I had at Airwaves this year; his joy in playing the music is infectious and the crowd was happy to come along for the ride.  The Foreign Monkeys set was in a hotel and there were only a few dozen of us there, but the guys tore it up and even some friends who tend to be a bit more ambivalent about rock clearly enjoyed their energy.

Top 5 Places to Buy Records

North America

  1. Easy Street Records, Seattle
  2. Reckless Records, Chicago
  3. Daybreak Records, Seattle
  4. Ranch Records, Bend (OR)
  5. Silver Platters, Seattle

The Rest of the World

  1. Lucky Records, Reykjavik
  2. Space Hall, Berlin
  3. Sister Ray, London
  4. Rough Trade West, London
  5. Hard Wax, Berlin

The top spots on both lists are pretty much on lockdown, at least on any year we make it to Reykjavik.  Easy Street is our local Seattle area go-to, and Lucky is a home-away-from-home in Iceland.

I didn’t do much traveling in the US this year, but a January business trip to Chicago found me in a hotel just a few blocks from Reckless, and I went there every night.  We also made it down to Bend, Oregon for a wedding and got to spend some time (and money) at Ranch Records where I found a few intriguing punk titles.  Daybreak in Seattle’s Fremont neighborhood continues to impress with its variety and good prices, and the massive selection at the Seattle branch of Silver Platters is always worth a visit.

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The international list was a bit tougher to narrow down because we went to some outstanding shops in the UK, Germany, Denmark, and Iceland.  Berlin’s Space Hall (listening stations – right) is an essential stop, especially if you’re into electronic music.  Hard Wax, while not nearly as large as Space Hall, was well-curated and every single thing I flipped past seemed interesting.  In London I had my best used buying experiences at Rough Trade West and Sister Ray – I’m pretty sure I could have easily blown my entire vinyl budget for the trip in either of those stores.  There were some other great stops as well – London’s Phonica Records and Potsdam’s Silverspeed Records would have probably made the list any other year, but in 2019 the competition was steep.

Top 5 Music Books

  1. Stay Fanatic!!! Vol. 1 by Henry Rollins
  2. Facing the Other Way:  The Story of 4AD by Martin Aston
  3. England’s Hidden Reverse by David Keenan
  4. The 33 1/3 B-Sides by Will Stockton and D. Gilson (eds.)
  5. Revenge of the She Punks by Vivien Goldman

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I think I only read six music-related books in 2019, so this list wasn’t too hard to put together.  Henry Rollins’ Stay Fanatic!!! Vol. 1 just came out in November and it’s basically a journal-format love letter to music and record collecting covering a three year period.  It looks like Henry and the team have the next two volumes already in the works, so I’m sure I’ll devour those when they come out as well.  Facing the Other Way: The Story of 4AD was another high point as it opened my eyes to the 4AD label and turned me on to a number of bands I hadn’t heard of before, which is a big plus.  Same with England’s Hidden Reverse, which expanded my knowledge of some of the more fringe quasi-industrail performers who later became at least a bit more well-known like Coil, Current 93, and Nurse with Wound.

 

It’s hard to believe 2019 is in the books, but here we are again my friends.  We’re already starting to talk about travel plans for 2020 and it looks like the new year may take us to some new places on the planet, which means more new music to discover.  I can’t wait.

Iceland Airwaves 2019 – Reflections

It was great to be back in Reykjavik for Iceland Airwaves after a one year absence, with the added benefit of this being a milestone for us – our 10th Airwaves.  It’s bizarre to think that as someone closer to 50 than 40 I’ve attended an Airwaves during over 20% of my years…

Because we missed 2018 this was our first time experiencing the festival under the new leadership and with the shorter four-day format.  There were considerably few bands in 2019 than in 2017, and perhaps even more noticeable way fewer off-venues.  My understanding is that the fee for being an official off-venue increased significantly, and based on the numbers I heard from folks in town the cost was prohibitive for many of the small businesses that hosted shows in past years.  This was also the first time I remember hearing people referring to Airwaves as a “showcase festival”.  With all that in mind, there wasn’t as much music happening as in years past, and bands played significantly fewer shows.  Despite that, there was plenty going on and we got into the groove of the slower pace, taking advantage of the extra time to connect with friends.

And friends were the theme of Iceland Airwaves 2019 for us.  While I missed the music last year as I sat in the basement of my workplace and desperately worked with the team to try to get a software release done in time, at the end of the day what I missed most was seeing all of our friends.  So this year we made a point of connecting with everyone possible, while also making some new friends along the way.  Some folks weren’t sure if they’d be coming back in 2020, but by the end of the week most of them were already talking about early bird passes being available.  The smaller, more intimate feel of Airwaves, and Reykjavik in general, creates these opportunities to build relationships, and that’s a big part of what makes it special.  If you’d have told me in 2009 how many people we’d know and stay and touch with due to Airwaves I wouldn’t have believed you.

Best Venue:  It was a strange year without Harpa, and while KEX Hostel was elevated to on-venue status we somehow never made it there.  In fact we spent most of our on-venue time at the Reykjavik Art Museum, which while adequate is never going to be anyone’s favorite spot.  Ultimately I come away with feeling that once again Gamla Bíó is the best place in Reykjavik to see a show, despite the fact that we only saw one band perform there (Glass Museum).  The strangest place we saw a show was definitely Waldorfskólinn Sólstafir, a local school where we were surrounded by kids.  You’d never see that in the US, my friends.  Here if a bunch of foreigners show up at a grade school, someone is calling a SWAT team.

Best Show:  For the second Airwaves in a row I’m going with Hatari (below).  To say that their set is a performance would be an understatement, and since I also love their music it was more or less a no-brainer.  A super close second was a bit of a surprise – the off-venue Lucky Records show by Hermigerville.  Not only did he have half the crowd actually dancing, but he also dropped in a couple of The Magnetics covers since he’d performed as part of their retro set the night before.  We ended up missing that show because it conflicted with Hatari, so it was awesome to catch a few of those old 80s-style synth bangers.  Honorable mentions to Mammút, who I hadn’t seen in forever and who sounded fantastic, and the up-and-comers Blóðmör with their straight-ahead style of classic metal.

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Best New-To-Me Band:  The winner here is definitely Lydmor.  We’d never heard of her before seeing her at Hressó and her performance was one of those experiences where even if you’re not 100% into whatever is happening at the moment, you’re still captivated by it and don’t want to leave because you know something completely different and unexpected is right around the corner.  I’m not sure how this will translate to listening to Lydmor’s music without the live component, but I’ll definitely be checking out some of her stuff.

Coolest Music Purchase:  I bought a TON of stuff this trip.  So much, in fact, that I couldn’t fit all the vinyl in my DJ carry-on bag which left me with a hard choice – try to pack some in my suitcase or spend a bunch of money to have it shipped.  I opted for the former and the guys a Lucky provided me with a solid box and some extra 12″ cardboard pieces, and after strategically deciding what I’d put in my suitcase (i.e. less expensive stuff) and what I’d carry on (more expensive stuff) we got the box into the suitcase surrounded by clothes and… it worked <phew>!  The finally tally was something absurd like 45 records of various sizes, probably 25 CDs, and a fistful of cassettes.  Restraint is not my strong suit. Plus I had a lot of catching up to do after having missed a year.

As for the coolest purchase, well, it’s actually something we picked up in London at Sister Ray prior to heading to Reykjavik – Sensational‘s debut album Loaded With Power.  I pretty much never find Sensational vinyl in the US and this was released by a German label, so I was stoked to find it.  Honorable mention for the super limited (edition of 20) Blóðmör demo tape Á Hljómleikum that a friend snagged and held onto for me.  Those guys are definitely going places and this stuff will be even more impossible to get in the future.

Biggest Regret:  There were a few bands we missed who I’d like to have seen, especially Agent Fresco and the Biggi DJ set.  However, the biggest miss was not seeing Berndsen perform at a clothing story, because everyone who went said it was off the charts.  And having seen some photos, it clearly was.  So I’ll make a point of catching up with the big redhead next year.

 

We didn’t see nearly as many bands in 2019 as we have in the past, even when you account for the Airwaves being one day shorter.  Typically we’d see somewhere from 35-40 performances in five days, but this time around that number was probably in the low 20s.  And I’m fine with that.  In fact I liked not feeling like I just had to be on the run all day every day, tracking down show after show like I was just filling out a checklist.

I’d say there’s probably a 90% chance we’ll be back in Reykjavik in 360 or so days for the next installment of Airwaves.  Hopefully we’ll see you there.

Iceland Airwaves 2019, Day 2

We weren’t out too late on Wednesday night, so we hit the streets relatively early by Airwaves standards – probably about 10:30AM.  I headed straight over to Lucky Records to spend a few hours digging and building large stack of music to pick up later in the trip (see the Day 3 post…), before meeting up with the gang for lunch at one of our all time favorite joints, Noodle Station.  From there we popped over to Waldorfskólinn Sólstafir to see the hip hop duo Cryptochrome.  What was particularly notable about this show is that Waldorfskólinn Sólstafir is, well, a school.  So we were in a room that was about half adults and half little kids watching a performance, which is about as surreal as it sounds. (♠)  After that we popped over to Jörgensen Kitchen & Bar to catch one of our favorite Icelandic bands, and one we’ve never seen live, Foreign Monkeys.  And despite playing inside a bar nestled within a hotel, the Monkeys (below) absolutely crushed it with a blistering 40 minute set that included songs from their original album, 2009s , as well as the recently released Return.  Even the folks in our group who don’t generally gravitate to hard rock loved this set, with the strongest compliments being given to the drumming.  I know we’re only half way through the festival, but so far this has been my favorite show.

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After another record shopping detour, this time at Reykjavik Record Shop, it was time for dinner and the official on-venue portion of the day.  We started at Gaukurinn (formerly Sódóma) because we wanted to check out our friend Haukur and his metal band Blóðmör (below), and the young men did not disappoint, rocking our faces off with a blend of metal and punk, replete with long hair, head banging, and a Flying V guitar.  They destroyed all comers.  If these guys represent the future of heavy metal, then the future looks bright my friends.

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Blóðmör were followed by the always solid Kontinuum.  After that we bounced over to Gamla Bíó for Glass Museum (below), an intriguing Belgian duo who play instrumental songs using keyboards and drums.  The house was nearly full for their set the crowd responded with approval to everything the pair performed – clearly most folks in the room knew of them already.  Their style is hard to describe, the vibe more electronica than traditional popular music, with definite jazz and contemporary influences.  I know that may not sound like it should work, but trust me, it does.

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We wrapped up the night early as I’m still battling a cold I picked up during our flight from Seattle to London, but given how strong all five bands were today I don’t feel like I got shortchanged.  Plus we still have the festival’s two biggest nights ahead of us.

(♠)  When we arrived we agreed that if four guys, unaccompanied by children, showed up at a grade school to watch a musical performance, someone probably would have called a SWAT team.

Blóðmör – “Líkþorn” (2019)

I first connected with Haukur Valdimarsson on Facebook back in 2017.  The thing that an Icelandic teenager and a guy from Seattle on a collision course with turning 50 had in common was our mutual love for the metal band HAM. (♠)  We are HAM!  We’ve stayed in touch both via Facebook and on Discogs over the last few years, generally to commiserate about Icelandic metal and punk, particularly favorites like HAM and Skálmöld.

Then out of the blue a few months back I see Haukur tagged in an article about the 2019 winners of Músíktilraunir, a.k.a. Icelandic Music Experiments, a.k.a. Iceland’s Battle of the Bands.  Could this be the same Haukur?  Did I even know he played guitar?  It was, and he does, and his metal band Blóðmör took home this year’s top prize.  Oh, and in case I forgot to mention it, Haukur was also recognized as the event’s top guitarist.  Damn!  I mean sure, if there was an award for the most valuable Microsoft-Excel-user-guy at my company I’d have an outside shot of winning (♣), but to be named the best young axe-wielder in an entire country?  That’s pretty great.

Blóðmör (named after Icelandic blood sausage) just put out a five-song digital EP on Bandcamp (HERE) back in June, and I have to say it’s some damn good stuff.  I strongly encourage you to head over there, download it, and kick the kids a few bucks – yes, they’re offering it up for free, but I’d be willing to bet any cash they get will be spent on gear, studio time, and other music related stuff, so help ’em out.

I of course took full advantage of my relationship with Haukur and asked if he’d do an interview for Life in the Vinyl Lane, and he readily agreed.

Haurkur, you and I originally connected due to our mutual love of HAM. What metal bands drove your passion for the genre?

My biggest inspirations for writing songs for Blóðmör have been all kinds of bands. Mostly Icelandic but also bands from other countries. HAM has obviously had a massive impact. Then I would have to say the Megadeth has affected me a lot as well. Icelandic punk bands from the 80’s have had an impact on my writing. That would be bands like Purrkur Pillnikk, Fræbbblarnir and Þeyr.

How did Blóðmör come together as a band?

Blóðmör started right after another band I was in called it quits. This was in the fall of 2016. We just wanted to make punk music but we struggled a lot and quit after just a few months. Then in 2018 we got a new drummer and started playing again. Soon we played our first concert and have been in the scene since.

Blóðmör recently won Músíktilraunir, and you were recognized as the best guitarist.  What was that experience like, both preparing for it and ultimately winning the competition?

We prepared for Músíktilraunir by rehearsing the songs we were going to play over and over.  Even when we knew them 100% we just pushed them even more until they sounded perfect. When we made it to the finals we were so happy but after winning the whole competition we were left speechless. It was an amazing experience.

Your new five-song EP Líkþorn came out in June. How was the experience of recording that album?

Recordings of our EP started in October last year. We went to the studio very inexperienced and basically just didn’t know anything what we were doing. It took a few months to finish the recording, they were over in February this year. After that our friend Biggi from Alchemia started mixing the album and after that Oculus mastered it. Then on June 14. it finally got released.

How were you able to get Óttarr Proppé to join the band on “Frumskógurinn”?  How was it working with one of your idols?

I’ve known Óttarr for some time now for a few reasons. So it was easy for me to contact him. He was very open for the idea so he came. It was an amazing experience having him in the studio with us. When I heard him sing to our song for the first time I just couldn’t stop smiling.

What’s next for Blóðmör?

Our next step would be writing enough new material to record a full length album. We have almost 3 new songs ready at the moment, 2 of which we play live already. But I think we will not go to the studio again until we have at least 8-10 songs ready. We will take as much time we will need. I think it’s better to wait rather than doing this in a hurry.

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blodmorI was intrigued when Haurkur mentioned Purrkur Pillnikk and Fræbbblarnir as influences, because even at first glance there’s more than a bit at punk at play with Blóðmör – after all, the longest song on Líkþorn clocks in at a very un-metal-like 3:04, definitely a departure from the ambitious lengths of so many metal tracks these days.  Stylistically there are punk elements as well, though make no mistake – this is guitar-driven metal through-and-through.  Right from the opening of the title track “Líkþorn” we’re treated to driving riffs, followed by growled vocals, then right into a classic metal instrumental interlude before reversing course and taking us to the finish line in less time than it takes to make a cup of coffee.  But lest you be afraid the guys are going to stay in this zone for the next 12 minutes, au contraire mon frère, because “Klósettið” is a pure rocker, its vocals cadenced in pop punk fashion and slightly at odds with the brief metallic solo burst in the song’s second half.  “Skuggalegir Menn” takes us in a doom direction, the vocals going lower and more primal, the rhythm section pulsating with plodding weight, a HAM-esque crusher that still maintains a dose of youthful enthusiasm.

The first time I heard “Frumskógurinn” I stopped dead in my tracks and said out loud to no one in particular (I was home alone at the time), “wait, that’s Óttarr Proppé“, the one and only vocalist for HAM and Dr. Spock!  And I have to say he fits perfectly into this track, probably the most punk jam on Líkþorn, one reminiscent of some of the finest first wave Scandinavian punk bands.  Óttarr takes the middle of the song in a raspy, accusatory direction before the guys bring it back home perfectly, picking up right where they left off before his vocal interlude.  The album closes with “Barnaníðingur”, another rocker characterized by a driving rhythm, though one that picks up speed along the way like a car with no breaks heading down a hill, going faster and faster until the collision at the end that brings the whole thing to a sudden and jarring stop.

I suspect that we’re going to be seeing and hearing a lot more from Blóðmör in the coming years, and hopefully they’ll land a few shows during Airwaves this year so that I can check them out live.

(♠) And the English language, because mercifully for me Haukur’s English is probably better than mine.

(♣) OK, maybe I’d be in the top three… or maybe the top five… but spreadsheets are cool, dammit!