Hilmar Örn Hilmarsson
Hilmar Örn Hilmarsson known as HÖH, is a musician, an art director, allsherjargoði of Ásatrúarfélagið. Hilmar Örn Hilmarsson was a pioneer in the use of computers when composing music and cleared the path for new ideas in recording and arrangements, he has worked on ambitious and original projects with various musicians, such as Psychic TV, Current 93, Sigur Rós, Steindór Andersen and Eivør Pálsdóttir. From 1972 to 1975 he was playing drums in a school band called Fatima with guitarist Jóhannes Helgason, bassist Birgir Ottóson and singer Guðmundur Eyjólfsson. In 1974 singer Eiríkur Hauksson replaced Guðmundur and guitarist Sigurgeir Sigmundsson joined them and a year after they broke up. By 1979 Hilmar Örn was playing drums and the synthesizer in a band called Fellibylur with vocalist Magnús Guðmundsson and bassist Hilmar Örn Agnarsson; the band was expanded with the arrival of singers Elín Reynisdóttir, guitarist Jóhannes Helgason and drummer Sigtryggur Baldursson and with the new line-up, they created a new band called Frostrósir that played disco music.
The band changed their name to Þeyr and released the debut album in December 1980 with the title Þagað í Hel which contained some lyrics written by Hilmar Örn. Þeyr underwent internal changes and Eiríkur left the band and guitarists Guðlaugur Kristinn Óttarsson and Þorsteinn Magnússon joined in. The music evolved with the new members and Elín and Jóhannes left the band; the new Þeyr became famous in Iceland with Útfrymi and Mjötviður Mær, among other releases, Hilmar Örn collaborated with them with some lyrics and art works, managed the band from 1981 to 1982 with Guðni Ragnar Agnarsson creating Esquimaux Management, an independent record label and book publisher. Þeyr held a deep interest in science and philosophy and Hilmar Örn served as an influential figure. Guðni and Hilmar withdrew from the band’s management in 1983 and were replaced by Guðmundur Sigurfreyr Jónason, the same year Þeyr disbanded. In 1984 Guðlaugur Kristinn Óttarsson and singer Björk Guðmundsdóttir, who at that time were in KUKL formed The Elgar Sisters, Hilmar joined them next to Einar Arnaldur Melax, Sigtryggur Baldursson, Þorsteinn Magnússon and Birgir Mogensen to record 11 songs from 1984 to 1986 and disbanded afterwards.
The Elgar Sisters did not release any album, but some of their works were featured during the solo careers of Björk and Guðlaugur. In 1987 Hilmar began to work with Current 93, a band led by David Tibet and collaborated with 10 releases, among them, he produced the single Crowleymass in 1987 and in 1991 produced Island, an album which featured singer Björk as backing vocalist on the song “Falling”, he collaborated with the band Ornamental in 1988. MÖK Trio was a group formed by bassist Tómas Magnús Tómasson, Hilmar Örn and Guðlaugur Kristinn Óttarsson. In fact, the name stemmed from the initials corresponding to the middle name of each member, their first gig was by 1992. MÖK Trio did not play and they never released any album, their last presentation was in August 2001 at Reykjavík. In 1992 he started to record with singer and trumpet player Einar Örn Benediktsson on a new project called Frostbite and released an album titled The Second Coming the following year through label One Little Indian, but after this, the band was dissolved.
His collaborations continued with sound engineer Andrew McKenzie in The Hafler Trio and in 1993 released an album called Bootleg H3ÖH which contained remixes from Frostbite. By November 1997 Hilmar and Einar Örn joined drummer Sigtryggur Baldursson to form Grindverk. After signing with FatCat Records they released their debut album, a 12-inch vinyl titled Gesundheit von K on 1 January 1999. With 4 tracks, Gesundheit von K encompassed a wide range of styles: from the industrial funk of the title song to the exotic jazz of “Kastrato”. Grindverk showed with this album a dark music, with free instruments proper of the funk music or post industrialism of the eighties but in the context of the nineties, they were supposed to release an album called T.h.e.r.a.p.i.s.t.s by July 1999, but it was canceled as Grindverk disbanded shortly after their debut release. Hilmar Örn & Sigur Rós: In 2000 he collaborated with Sigur Rós on the soundtrack to the film Angels of the Universe, directed by Friðrik Þór Friðriksson.
This seventeen-track album contained fifteen songs composed by HÖH with his mellow soothing trademark sound and two songs created by Sigur Rós. He worked with Sigur Rós composing and performing on “Hrafnagaldr Óðins”. GVDL: Was another music project formed in 2001 with Guðlaugur K. Óttarsson and bass player Georg Bjarnason. The group was established for the arrival in Iceland by the American band Fuck. In fact, the name of the band were the initials of the American group shifted one place further, they only had one performance at Kaffi Reykjavík, without recording any track. In 2004 Hilmar Örn collaborated with singer Eivør Pálsdóttir in a joint project between Iceland and Ireland and performed with other musicians from both countries in two concerts, one in Reykjavík and the other in Tórshavn, in the Faroe Islands. From 1981 onward, Hilmar Örn Hilmarsson has composed music for several movies, both Icelandic and foreign, worked with film directors such as Henning Carlsen, Jane Campion and Friðrik Þór Friðriksson (Brennu-Njálssaga, 1981 - Skytturnar, 1987 - Börn Náttúrunnar, 1991 - Bíódagar, 1994 - Cold Fever, 1995 - Djöf
Iceland is a Nordic island country in the North Atlantic, with a population of 348,580 and an area of 103,000 km2, making it the most sparsely populated country in Europe. The capital and largest city is Reykjavík, with Reykjavík and the surrounding areas in the southwest of the country being home to over two-thirds of the population. Iceland is geologically active; the interior consists of a plateau characterised by sand and lava fields and glaciers, many glacial rivers flow to the sea through the lowlands. Iceland is warmed by the Gulf Stream and has a temperate climate, despite a high latitude just outside the Arctic Circle, its high latitude and marine influence keep summers chilly, with most of the archipelago having a tundra climate. According to the ancient manuscript Landnámabók, the settlement of Iceland began in 874 AD when the Norwegian chieftain Ingólfr Arnarson became the first permanent settler on the island. In the following centuries, to a lesser extent other Scandinavians, emigrated to Iceland, bringing with them thralls of Gaelic origin.
The island was governed as an independent commonwealth under the Althing, one of the world's oldest functioning legislative assemblies. Following a period of civil strife, Iceland acceded to Norwegian rule in the 13th century; the establishment of the Kalmar Union in 1397 united the kingdoms of Norway and Sweden. Iceland thus followed Norway's integration into that union, coming under Danish rule after Sweden's secession from the union in 1523. Although the Danish kingdom introduced Lutheranism forcefully in 1550, Iceland remained a distant semi-colonial territory in which Danish institutions and infrastructures were conspicuous by their absence. In the wake of the French Revolution and the Napoleonic Wars, Iceland's struggle for independence took form and culminated in independence in 1918 and the founding of a republic in 1944; until the 20th century, Iceland relied on subsistence fishing and agriculture. Industrialisation of the fisheries and Marshall Plan aid following World War II brought prosperity and Iceland became one of the wealthiest and most developed nations in the world.
In 1994, it became a part of the European Economic Area, which further diversified the economy into sectors such as finance and manufacturing. Iceland has a market economy with low taxes, compared to other OECD countries, it maintains a Nordic social welfare system that provides universal health care and tertiary education for its citizens. Iceland ranks high in economic, social stability, equality ranking first in the world by median wealth per adult. In 2018, it was ranked as the sixth most developed country in the world by the United Nations' Human Development Index, it ranks first on the Global Peace Index. Iceland runs completely on renewable energy. Hit hard by the worldwide financial crisis, the nation's entire banking system systemically failed in October 2008, leading to a severe depression, substantial political unrest, the Icesave dispute, the institution of capital controls; some bankers were jailed. Since the economy has made a significant recovery, in large part due to a surge in tourism.
A law that took effect in 2018 makes it illegal in Iceland for women to be paid less than men. Icelandic culture is founded upon the nation's Scandinavian heritage. Most Icelanders are descendants of Gaelic settlers. Icelandic, a North Germanic language, is descended from Old West Norse and is related to Faroese and West Norwegian dialects; the country's cultural heritage includes traditional Icelandic cuisine, Icelandic literature, medieval sagas. Iceland has the smallest population of any NATO member and is the only one with no standing army, with a armed coast guard; the Sagas of Icelanders say that a Norwegian named Naddodd was the first Norseman to reach Iceland, in the 9th century he named it Snæland or "snow land" because it was snowing. Following Naddodd, the Swede Garðar Svavarsson arrived, so the island was called Garðarshólmur which means "Garðar's Isle". Came a Viking named Flóki Vilgerðarson; the sagas say that the rather despondent Flóki climbed a mountain and saw a fjord full of icebergs, which led him to give the island its new and present name.
The notion that Iceland's Viking settlers chose that name to discourage oversettlement of their verdant isle is a myth. According to both Landnámabók and Íslendingabók, monks known as the Papar lived in Iceland before Scandinavian settlers arrived members of a Hiberno-Scottish mission. Recent archaeological excavations have revealed the ruins of a cabin in Hafnir on the Reykjanes peninsula. Carbon dating indicates that it was abandoned sometime between 770 and 880. In 2016, archeologists uncovered a longhouse in Stöðvarfjörður, dated to as early as 800. Swedish Viking explorer Garðar Svavarsson was the first to circumnavigate Iceland in 870 and establish that it was an island, he built a house in Húsavík. Garðar departed the following summer but one of his men, Náttfari, decided to stay behind with two slaves. Náttfari settled in what is now known as Náttfaravík and he and his slaves became the first permanent residents of Iceland; the Norwegian-Norse chieftain Ingólfr Arnarson built his homestead in present-day Reykjavík in 874.
Ingólfr was followed by many other emigrant settlers Scandinavians and their thralls, many of whom were Irish or Scottish. By 930, most arable land on the island had been claimed. Lack of arable land al
Mjötviður Mær, released in 1981, was the second album by Icelandic new wave/rock group Þeyr. It was edited through Eskvímó in 12” vinyl. Mjötviður Mær was Þeyr's most important work, according to the media. Formed by 12 songs, "Iss", "Þeir" and "2999" could be deemed as attempts to create a futuristic pop style thanks to voice distortions and additional rhythm. "Úlfur" is a track that thus became into one of the most famous. Important are, “Mjötviður”, an instrumental track and “Rúdolf”, a song loaded with rock anger and constitute an antifascist lampoon of Adolf Hitler; this record was never reissued. However, some of its recordings appeared in Mjötviður til Fóta, a special release to commemorate the 20 anniversary of Þeyr's reincarnation; this CD featured recordings from the single Iður til Fóta. This album and their second work, As Above... had both the same front covers, the only difference was the title. The image cover depicted a pentagram with the naked drummer inside it, it is a symbol that represents the interest in magic that their members had, it is a representation of the five-member band, the perfect proportions of the human being, as defined by Leonardo da Vinci's Vitruvian Man.
The background photograph portrayed Keilir, a cone-shaped mountain located at the outskirts of Reykjavík and, believed to have magic powers. The road shown on the image is Suðurgata; this image is accompanied by runic writings which were taken from Völuspá. The title refers to Scandinavian mythology, where the word Mjötviður known as Yggdrasil, means The Tree of Destiny, whose roots penetrate the three Underworld wells, whose branches and foliage stretch throughout the whole Universe; the word Mær means Good. The inserts of this album contain the lyrics to the songs and feature several images related to magic and mathematics. Drawings of Pythagoras taken from Theorica Musica, by F. Gaffurio, represent the discovery of numeric relationships between harmonic sounds, known as Pythagorean tuning; this is complemented by other illustrations such as fragments of music writings from Alexander Scriabin’s Piano Sonata No. 3 in F sharp minor, Op. 23, engravings by Theodor de Bry from Robert Fludd's Utriusque Cosmi, several pentagram illustrations, including Heinrich Cornelius Agrippa's pentagram taken from Three Books of Occult Philosophy which represents the golden symmetry of the human body.
Other symbols featured are images of the Yggdrasil, drawings from Ancient Egypt, satanic symbols, among others. ”2999” is the same as “Technologos” in As Above.... The tracks translate to English as 1. Wolf, 2. Duh! 3. Current, 4. 2999, 5. World Tree, 6; the Shout, 7. They, 8. Rudolf, 9. Never Suck, 10; that is Enough, 11. Hva-Than, 12. Unnamed. Vocalist: Magnús Guðmundsson. Guitars: Guðlaugur Kristinn Óttarsson and Þorsteinn Magnússon. Bass: Hilmar Örn Agnarsson. Drums: Sigtryggur Baldursson. Tracks:1: Music: Þeyr. Lyrics: Magnús Guðmundsson.2: Music: Hilmar Örn Agnarsson. Lyrics: Hilmar Örn Hilmarsson.3: Music: Hilmar Örn Agnarsson. Lyrics: Hilmar Örn Hilmarsson.4: Music and lyrics: Þorsteinn Magnússon.5: Music: Þeyr.6: Music and lyrics: Þorsteinn Magnússon. 7: Music: Hilmar Örn Agnarsson. Lyrics: Hilmar Örn Hilmarsson.8: Music: Magnús Guðmundsson. Lyrics: Hilmar Örn Hilmarsson.9: Music: Þeyr.10: Music: Hilmar Örn Agnarsson. Lyrics: Hilmar Örn Hilmarsson.11: Music and lyrics: Þorsteinn Magnússon.12: Music and lyrics: Hilmar Örn Hilmarsson.
Characters on the record label: Sigga Vala. Album and the wolf logo featured on the record label: Robert Guillemette. Photographs: Gunnar Vilhelmsson. Acknowledgement: Eyjólfur and Jóhannes Vestdal. Page about Þeyr Website about the history and discography of Þeyr Tónlist.is - Page about Þeyr. It features mp3 samples. Intravenous.de - Page about Icelandic music. It includes a section for Þeyr. Official site of Guðlaugur Kristinn Óttarsson Page of G. K. Óttarsson at MySpace.com Page of Þorsteinn Magnússon at MySpace.com Official site of Sigtryggur Baldursson
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Iður til Fóta
Iður til Fóta was a single released in 1981 by the Icelandic group Þeyr through Eskvímó and it was edited in 10" format. The title translates as "Moving Your Feet" but in Icelandic forms a pun which can translate as "Guts at Your Feet"; this record was never reissued. However, in 2001 some of its recordings appeared in Mjötviður til Fóta, a CD to commemorate the 20th anniversary of the creation of Þeyr; the title of this CD combined the name of Mjötviður Mær, the other album included. The front cover, designed by Hilmar Örn Hilmarsson, depicts a dancer being hypnoptized by a man who points at her and shows a geometric shape on her head; this illustration was intended to represent the hypnotizing effect of Þeyr's music towards the audience. The back cover depicts a German inscription, here translated:The fall of Asgard on Atlantis; the Ragnarök of the Edda and "the thousand-year empire of God on Earth" according to Daniel and John's Book of Revelation. This text is followed by two quotations from the Bible written in Latin:Væ væ væ habitantibus in terra.
Apocalypsis VIII Cuncta in quibus spiraculum vitæ est mortua sunt. Genesis VII Where the first quotation refers to The Seventh Seal and means Woe! Woe! Woe to the inhabitants of the earth; the second quotation refers to The Flood and translates as follows: Everything on dry land that had the breath of life in its nostrils died. These writings are complemented by an illustration of the Beinhaus taken from a series of drawings of the Totentanz. Length time: 28:32 Music and lyrics:1 Magnús Guðmundsson.2: Hilmar Örn Agnarsson and Magnús Guðmundsson.3: Hilmar Örn Agnarsson.4: Þeyr. Performers: Vocalist: Magnús Guðmundsson. Guitars: Guðlaugur Kristinn Óttarsson and Þorsteinn Magnússon. Bass: Hilmar Örn Agnarsson. Drums: Sigtryggur Baldursson. Other collaborators:Cover design: Hilmar Örn Hilmarsson; the tracks Bas 12 and Tedrukkin are the same as Dead / Undead and Are you Still There? that appear on the album As Above, only here the vocal tracks were recorded in English. The titles translate as 1. Booth Twelve, 2.
Magga's Vision, 3. Tea-Drunk and 4. Aryan Reggae. Page about Þeyr Website about the history and discography of Þeyr Tónlist.is - Page about Þeyr. It features mp3 samples. Intravenous.de - Page about Icelandic music. It includes a section for Þeyr. Official site of Guðlaugur Kristinn Óttarsson Page of G. K. Óttarsson at MySpace.com Page of Þorsteinn Magnússon at Isound.com Page of Þorsteinn Magnússon at MySpace.com Official site of Sigtryggur Baldursson
Þeyr was a renowned Icelandic new wave band from the early 1980s. Shrouded under a veil of mystery, their three-year existence was characterized by a deep interest in ancient wisdom. Þeyr helped bring about the new wave movement in Iceland and became one of the first Icelandic bands to be known abroad. The origins of Þeyr date back to the late 1970s when singer Magnús Guðmundsson, bassist Hilmar Örn Agnarsson and Hilmar Örn Hilmarsson were playing in a garage band called Fellibylur; the band was expanded with vocalist Elín Reynisdóttir, who at the time was singing at a church choir, guitarist Jóhannes Helgason from a rock band called Piccolo, drummer Sigtryggur Baldursson from Hattimas. They called themselves Frostrósir and played rock music and some Icelandic songs at dancehalls in Reykjavík and its surroundings. After a while they decided to change the band’s name and came up with Þeyr, drawn from a poem by Skuggi and it means Wind or Thaw in old Icelandic. Þeyr is pronounced as þeir, which means they.
By 1979, they introduced two of their songs to Svavar Gests, owner of SG-Hljómplötur, who sent them to Sigurður Árnason, a record producer from Tóntækni, the studio of SG-Hljómplötur, the recording sessions started in January 1980 but were interrupted in February when the band decided to take a long break to come back in September with new wave music. “There was a concert in Iceland with the group Clash which had a lot of effect on us, specially Magnús. That was the turning point as we started the new wave rock, the band was taking a roller-coaster in music searching for something out of the ordinary”, says Sigtryggur Baldursson; the band recorded other works which were not published, like a song to Hindin, a poem by Davíð Stefánsson, sung by Elín and Eiríkur Hauksson and with some backing vocals added by Magnús. Svavar Gests was reluctant to publish the record as he did not like the music nor the cover design, his wife persuaded him to release it; the album, titled Þagað í Hel, was influenced by progressive rock, disco music and late 1970s pop.
The pressing of the vinyl was flawed when it arrived in Iceland, only about 500 copies were released in December 1980. Þagað í Hel has never reissued because a few years the masters and other recordings were lost in a fire at Tóntækni, making this record unavailable today. The only song to survive from the album was the opening track "En...", which resurfaced on Nælur, a compilation album of Icelandic new wave bands released in 1998. Right after this album, they were joined by guitarist and polytechnic engineer Guðlaugur Kristinn Óttarsson, they played together for a while, but Jóhannes withdrew from the band in order to finish with his aeronautical studies. Elín withdrew from the music scene to work at Impra. Guitarist Þorsteinn Magnússon, from the band Eik joined the band and Magnús remained as the lead vocalist; as time passed by and thanks to the final line-up, Þeyr developed an experimental rock, heavy metal and pop style with preponderance of guitars and drums. Musical influences spanned over a wide range of seminal artists such as Joy Division, Holger Czukay, The Birthday Party, Killing Joke and the Banshees, Nina Hagen, David Byrne, Genesis, Grateful Dead, John McLaughlin.
On January 28, 1981 Þeyr played at Hótel Saga, a date referred to as the reincarnation of Þeyr, where free haircuts were offered to the audience during the break. The band started to be acclaimed not only for their stage performances, but by their accessible and at the same time creative music; the band was strengthened with the management of Guðni Rúnar Agnarsson, the host of the radio show Áfangar, Hilmar Örn Hilmarsson, who collaborated with the lyrics, some art works and served as an influential figure whose interest on obscurantism was embodied in the lyrics. The band’s following release was a 7-inch vinyl called Life Transmission, released through their own label, Eskvímó in 1981, it contained two songs: the title song, the first work they sang in English, “Heima er Bezt”. They collaborated on the soundtrack to Brennu-Njálssaga, a film about the Njáls saga, directed by Friðrik Þór Friðriksson, toured Iceland and played along with Þursaflokkurinn and Baraflokkurinn in Akureyri. After these concerts, they went back to the recording studio and prepared Iður til Fóta, a 10-inch vinyl single which contained four tracks.
By December and after 140 hours of recording sessions in studio Hljóðriti, Þeyr released their second album, Mjötviður Mær, in which songs like "Iss", "Þeir" and "2999" were outstanding examples of their attempts to create a futuristic pop style with use of voice distortions and additional rhythms. The track “Úlfur” stands out due to having a more angry style of singing and “Rúdolf”, an antifascist rock song, became into one of the most popular songs; this album received good reviews by the critics. When speaking about the LP, it's more correct to talk about "state of mind"; these recordings are the product, or rather the preservation of the feelings and mental state of mind of the band for the last few months. And what months! We've verified that asceticism does indeed enrich the spirit, the spirit is being recorded on a steel-thread which in turn will be put into vinyl which will be released as Þeyr's second LP in the middle of next month, God and a certain somebody in that company willing.
By 1982, singer and keyboardist Jaz Coleman from Killing Joke had visited Iceland many times, become an acquaintance of Þeyr. This resulted in an opportunity for the Icelandic band to travel to Lond
Mjötviður til Fóta
Mjötviður til Fóta was an album released in 2001 to commemorate the 20th anniversary of the creation of Þeyr, one of Iceland’s most important bands of the early eighties. Mjötviður til Fóta contains songs recovered from the album Mjötviður Mær and the single Iður til Fóta, two records released in 1981; the material was recorded in 1981 at Studio Hljóðriti and it was digitized and mastered on October 25, 2001 at Stafræna Hljóðupptökufélaginu when guitarist and scientist Guðlaugur Kristinn Óttarsson took helm in the hot and cold thermal curating process where only analog thermometers were used. Þeyr never reissued the other records, since the masters are believed to be lost and thus, the only recorded material of the band available is this release, as well as some other Icelandic compilations where few of their tracks are featured. Vocalist: Magnús Guðmundsson. Guitar and electronic sounds: Guðlaugur Kristinn Óttarsson. Guitar and vocals: Þorsteinn Magnússon. Bass, background vocals: Hilmar Örn Agnarsson.
Drums and background vocals: Sigtryggur Baldursson. Production: Þeyr and Tony Cook. Recording engineer: Tony Cook. Artistic currents: Sigga Vala. Prime time engineer and slogansmith: Hilmar Örn Hilmarsson. Recording at: Stafræna Hjóðupptökufélaginu. Under the direction of: Svein Kjartansson. Digitizing supervisors: Guðlaugur Kristinn Óttarsson, Hilmar Örn Agnarsson and Hilmar Örn Hilmarsson. Consultants: Guðmundur Bjarnason and Gunnar Smári Helgason. Hot and cold thermal curation: Guðlaugur Kristinn Óttarsson. Album and the wolf logo: Robert Guillemette. Art direction: Hilmar Örn Hilmarsson. Photographs: Gunnar Vilhelmsson. Direction: Guðni Rúnar Agnarsson. Acknowledgement: Vivan Hrefna Óttarsdóttir for her gastronomical heights and encouragements. Page about Þeyr Website about the history and discography of Þeyr Tónlist.is - Page about Þeyr. It features mp3 samples. Intravenous.de - Page about Icelandic music. It includes a section for Þeyr. Official site of Guðlaugur Kristinn Óttarsson Page of G. K. Óttarsson at MySpace.com Page of Þorsteinn Magnússon at MySpace.com Official site of Sigtryggur Baldursson Hilmar Örn Hilmarsson on IMDb Page of HÖH at Rate Your Music.com