SKVETTIR EDIK Á REF self-released August 2002 on Vogor Records re-issued August 2003 on Resonant UK Info: 3rd album was recorded, mixed and mastered at home. All songs by Stafrænn Hákon except KOFI & SAFI by Samuel White & Stafrænn Hákon. Þröstur Sigurðsson played trombone on EFLING & SAFI Tracklist: TÆTIR RÆKJU KOFI SKREF C-VERND EFLING E.K NÁLGAST TÁLKN GRIFFLUR SAFI buy: order from Amazon order from Vibrashop order from Resonant order from Norman Records Reviews: Largely based on simple guitar melodies, Hakon (aka Olafur Josephsson) slowly unfolds his glacial take on ambient music over ten tracks that gently drift from acoustic guitar bolstered by waves of background sound to delicate drone pieces. Josephsson works the simplicity of his compositions to his advantage, grounding his developing soundscapes in basic folk andeven blues-based forms. The way his soothing reverberating guitar moves through waves of undulating sound is occasionally reminiscent of Jason Pierce at his most mellowed out. Elsewhere the faint siren call of his guitar echoes the ethereal music of fellow Icelanders Sigur Ros, but on a more intimate level. Tom Rige (Wire Issue 237) The Wire Magazine A re-release of a record previously only available in small chunks back in his Icelandic homeland, ‘Skvettir Edik A Ref' marks the first widely-released music from multi-instrumentalist Olafur Josephsson aka Stafrann Hakon. Instantly reminiscent of Tarentel and fellow countrymen Sigur Ros, Stafrann Hakon writes extremely slow moving, atmospheric instrumentals where tranquil guitars and a looming haze recall Mogwai's recent tremendous – but initially almost transparent – ‘Happy Songs For Happy People' album. There are no vocals, no words at all, just occasional distant hints of voices, plus tiny hues of percussion and piano that swell most beautifully on the LP's mid-point EK. Something old, something borrowed, something distinctly blue. Something to make your wounded heart weep Ian Fletcher Comes With A Smile This Icelander's recent album finally in stock-it seems demand in the UK and Europe was so strong that Resonant were not able to budget any copies for North America until subsequent pressings/now. "Largely based on simple guitar melodies, Hakon (aka Olafur Josephsson) slowly unfolds his glacial take on ambient music over ten tracks that gently drift from acoustic guitar bolstered by waves of background sound to delicate drone pieces. Josephsson works the simplicity of his compositions to his advantage, grounding his developing soundscapes in basic folk andeven blues-based forms. The way his soothing reverberating guitar moves through waves of undulating sound is occasionally reminiscent of Jason Pierce (Spiritualized, Spacemen 3) at his most mellowed out. Elsewhere the faint siren call of his guitar echoes the ethereal music of fellow Icelanders Sigur Ros, but on a more intimate level."- Wire Issue 237) "He's probably sick of the comparisons, but Häkons output does bring to mind the work of his neighbours Sigur Ros and Björk, though in truth Häkons work sits in a field of one. The Björk similarities begin with his gift for relocating the stunning, ice and volcanoes wilderness of his country from the realm of the eye to that of the ear, while, like Sigur Ros, he has a gift for populating that realm with half-seen wraiths and elemental mystery. Here is where the similarities end: Häkon has earned the tag post-rock; and yes, now it's on paper I can see it. But if this is post-rock then so are Sigur Ros, so thin is the line between them, and that I cant see. Perhaps its Häkons gift for investing his instrumental landscapes with rich emotion that justifies it, but, ultimately, all music - from bluegrass to Beethoven - exists on a continuum, and who cares where the lines are drawn? Instead, take this with you: Häkon possesses a genius that is only one step removed from divine."-Logo Magazine, UK. "Only one word is enough to describe ` Skvettir edik á ref': superb. One of the rare successes to be married planning and intimacy, luminous euphoria and fogs melancholic persons. Since it is necessary to pass by the stage of the comparison, one will think of a kind of mixture between David Pajo (Aerial M/Papa M) and Windy & Carl, between Yellow 6 and Leaf Album, Mogwai and Durutti Column, Rothko and Rafael Toral, or Roy Montgomery and Labradford. Many references certainly, but Stafrænn Hákon is of nothing a product derivative, it developed a clean and coherent style through these different tendencies. A disc of pleasure pure, purified, celebrating the life and its pulsations, incandescent like the brilliant sun in the medium of a blue sky strewn with some thread-like white clouds. One plunges in a state second ecstatic, misty, fresh and étincelant, euphoriant, at the raised oxygen rate, the infinite beauty."-Matamore (France) Tonvendor For which never supported well the metamorphosis imposed by David Pajo d' Aerial M to Papa M (that is to say much more than one simple change of patronym as some however wrote), Icelandic of the name of Stafrænn Hákon should quickly become a faithful companion. Indeed, here, the notes are detached with amazement from a padded environment made from loops from batteries and watered guitars, tablecloths of keyboards. Spiritual sons of David Pajo for his play of guitar, Stafrænn Hákon delivers traditional post-rock'n'roll with pieces like Safi, the final piece of this third album (but the first finally available by on our premises), who makes strongly think of of Godspeed You! Black Emperor with the idle... Probably not a chance when it is learned that the catch with fact the first part of famous Canadian at the time of their concerts in Iceland. It is thus and after its removal in Scotland that Stafrænn Hákon goes to succeed to leave this disc on label Resonant (with a superb small pocket that it carried out itself) and to slip a title on a compilation of the magazine Wire reference. A small amply so much deserved dedication...Skvettir Edik á ref. conceals moments touched by the grace which deserve to have left the anonymity of the Icelandic besides winter (one advises to download the some mp3 available on the site of the artist). The disc of this autumn. denis Autre Directions With this third own-produced album, the young Icelander Olafur Josephsson sees finally the end of the tunnel since Resonant, the label of Kepler and Esmerine is given the responsability to republish it, at the same time taking again on his wing his preceding album, whereas Secret Eye, the label carried out by the members of The Iditarod, undertakes the rescue of its first disc. Skvettir edik á ref' is to some extent the stage of achievement, Olafur reaches the first apogee of its course begun in 1999. If its the first two works had already broad brightnesses, this one exceeds them briskly offering even the prospect to be a whole, a long voyage unit and planing of a little more than one hour. Where how to pass little by little the talented one to essential with a first chief of?uvre? The evolution and the progressions are as obvious as extraordinary here. Only one word is enough to describe ` Skvettir edik á ref': superb. One of the rare successes to be married planing and intimacy, luminous euphoria and fogs melancholic persons. Since it is necessary to pass by the stage of the comparison, one will think of a kind of mixture between David Pajo (Aerial M/Papa M) and Windy & Carl, between Yellow 6 and Leaf Album, Mogwai and Durutti Column, Rothko and Rafael Toral, or Roy Montgomery and Labradford. One can also think of too ignored album ` Turning', of Light, left on Wurlitzer Jukebox in 1997. Many references certainly, but Stafrænn Hákon is of nothing a product derivative, it developed a clean and coherent style through these different tendencies. The guitars are central, at the same time intimists, folk and whispering on a side, éthérées and planing other. The percussions are touching and what characterizes the whole and which is in the final analysis not very Icelandic it is this soft heat infused in constancy. A disc of pleasure pure, purified, celebrating the life and its pulsations, incandescent like the brilliant sun in the medium of a blue sky strewn with some thread-like white clouds. Impossible not to succumb, not to enter in resonance with the atmospheres envoûtantes met. One plunges in a state second extatic, misty, fresh and étincelant, euphoriant, at the raised oxygen rate, the infinite beauty. After Björk, Múm and Sigur Ros, it could be the new Icelandic revelation well, even if its style of music - space-rock'n'roll planing intimist - the reserve with more limited and sparse audiences, even if if undoubtedly more impassioned and pointed still. One hour of intense pleasures not to refuse. Difficult to individualize the ten constituent beaches because each one with its manner is a top and multiplies qualities of the unit. Embark quickly and enter the dream... Didier Matamore Loops of guitar lost in vagueness, resonant infinitely, carry, raise, invite to the escapade planing of after midday of which one awaited nothing and which one starts to hope for eternal. The Icelander Olafur Josephsson, alias Strafraenn Häkon, sees 2 of his albums, left in catimini on his own label to Iceland, republished by the remarkable label Resonant (Kepler, Szam Findlay, Sk/um). While waiting for a new album, envisaged at the beginning of 2004, here the first republication. Recently emigrated in Edinburgh, Josephsson is the only parent of a music post atmospheric rock'n'roll, made guitars folks and electric watered, amplified echoes, made melodies enchanters, raising the thickest hairs. Not very distant from Sigur Ros instrumental and méditatif, from Mogwai mast and hypnotic or Stars of the more poignant Lid, Häkon takes time to venture in the recesses of its dreams, takes time to precisely tell what touches it, to shake the listener of a light breeze but as désarçonnant as vivifying. Circular, the music takes with the tripe exponentially as one is plunged in the album. Talkn and Grifflur (sample bidouillé with the passage), in climaxes of an end of disc exquisite, all in melancholy and inexpressible beauties. The slow evolutions towards a quiet chaos, the guitars which susurrent us secret tales in the hollow of the ear, a permanent fog, revolving and cold winds make it possible to found a real climate of intimacy. Inviting to the dream and the lapse of memory, Häkon is illustrated perfectly by circumventing any repetition, while avoiding being identified too much with its references. The beautiful one, simply of beautiful. Gross, deep, shivering. FunkyRate: 8/10 Soitiden Passant It's not often that a release prompts a hasty re-consideration of where the boundaries truly lie, but this debut UK release from Stafrænn Häkon - released last year in his native Iceland, with another Iceland-only album, ‘I Astaandi RJ Punnar', due for release here later this year - certainly does that. He's probably sick of the comparisons, but Häkon's output does bring to mind the work of his neighbours Sigur Ros and Björk, though in truth Häkon's work sits in a field of one. The Björk similarities begin with his gift for relocating the stunning, ice and volcanoes wilderness of his country from the realm of the eye to that of the ear, while, like Sigur Ros, he has a gift for populating that realm with half-seen wraiths and elemental mystery. Here is where the similarities end: Häkon has earned the tag ‘post-rock'; and yes, now it's on paper I can see it. But if this is post-rock then so are Sigur Ros, so thin is the line between them, and that I can't see. Perhaps it's Häkon's gift for investing his instrumental landscapes with rich emotion that justifies it, but, ultimately, all music - from bluegrass to Beethoven - exists on a continuum, and who cares where the lines are drawn? Instead, take this with you: Häkon possesses a genius that is only one step removed from divine. Michael Ornadet Logo Magazine That the Icelandic cold protegga involuntarily its artists from a innovation market ingordo? The Resonant, label from always careful to evolversi of the refined scene post rock more, reprint for the European market the second album of Olafur Josephsson, fines - strumentista that seem to embrace the cause of the first Sigur Ros in the search of musical wefts to the limit of the intimismo. Between acoustic guitars, scarni drum loops and carpets infinites of delay, chorus and xilofoni form suite orchestrate them extremely candid that cannot that to also inspire a comparison with the connazionali breathing of own air. The solutions of Olafur contribute in fact to more create atmospheres submitted and minievils, approaching themselves the acts of Flying Soucer Attack and representatives of roster the Kranky like Labradford and Windy & Carl. The quarter trace (C-Vernd) seems to testify a voluntary abandonment to sonorous expansions and landscape, testifying the passion of Olafur for the experimentation that has fascinated one entire generation of shoegazer. The successive trace (AndK.) it resumes shape immediately and one goes away fastly from the car-indulgence of the previous brano, demonstrating one meditated polyvalency that ago to hope in next the production of the Icelandic today transplanted in Scozia. (7) (David Gualandi) BlowUp Magazine Skvettir Edik á Ref is the first of two STAFRÆN HÁKON albums that Resonant will re-release in the early part of 2004. These reissues bring to an end chapter one of the Stafrænn Hákon career and mark their first worldwide releases after previous limited handmade editions in his native Iceland. Stafrænn Hákon was recently earmarked by American webzine www.dustedmagazine.com as one of the acts to watch in 2004 and also featured on The Wire magazine's recent anniversary Wire Tapper CD. For fans of Sigur Ros, Labradford, Tarentel, Papa M & Aerial M, Yellow6, Mogwai, delicate drones and soundscapes Midheaven Mailorder ENGLISH IMPORT - First release outside of his homeland for Iceland's Stafrann Hakon, centred around the majestic soundscapes of Olafur Josephsson, a young man with incredible talent and a big future. "Skvettir Edik A Ref" doesn't represent his recording debut, but it certainly announces his arrival on the international scene in a grand style. That said, to pigeonhole Stafrann's work as post-rock doesn't even tell half the story. Bringing to mind Labradford, Tarentel or an instrumental Sigur Ros, his music is epic, incredibly emotive and atmospheric - and though the component parts tread a fairly familiar path, the end product is anything but formulaic. Earlier this year Stafrann Hakon had to turn down the offer of tour support for Sigur Ros (due to other commitments) - but the band are nevertheless fans of his work. StickFigure Mailorder Last list we reviewed Stafraenn Hakon's excellent debut "...Eignast Jeppa". Well we quickly sold out of that one (don't worry, we'll get more) but we do have THIS newer Stafraenn Hakon recording to share with you now. The same facts apply: Stafraenn Hakon, actual name Olafur Josephsson, is from Iceland. And everytime we play anything by Stafraenn Hakon in the store, somebody comes to the counter and asks about it, 'cause this music is simply so nice. Mellow, instrumental post-rock so freaking lovely it's like crying magical tears. No, really, this is nice enough to make 'nice' seem like an understatement. Sad, shimmering, swelling, chiming, gentle, drifting, gauzily melodic. There's another Stafraenn Hakon release coming up on Resonant real soon, and we hope he keeps 'em coming. Sigur Ros, move over. Aquarius Records Icelandic artist with the first of two albums he will be issuing in the space of a year. He falls lightly into post-rock terrain but without any trace of the clinician's touch. Plangent guitars, darkly mumbled bass and hovering sonics waft from a probable home set up, but there is warmth in Hakon's inviting ether and tempered folkisms. The melodic considerations ebb with a weary exuberance and the icy symphonic shifts are like glaciers on fire. Epic and emotive this music could sit alongside past ghosts like Labradford or Rothko, but could in time defrost the Fluevogs of a game Sigur Ros adherent. Gorgeous Neptune Records Originally own-produced...Skvettir Edik á ref., third album of Stafrænn Hákon, profits now from an exit on the always interesting Resonant label. If the atmospheric instrumental post-rock'n'roll of the Icelandic group offers a few moments of real beauty to us, it is however not distinguished enough from the guns of the kind. Cordial tablecloths of synthé, a first guitar shelling of cotonneuses notes, one second carrying out a fascinating tremor, a discrete battery and some tinklings of glockenspiel: the unit extremely well sounds in vain, one can only regret one relative lack of personality, so much the furrow of this delicate aggregate was dug and hollowed out again per a many artists. Admittedly, the group formed around Olafur Josephsson a heart with a music with the impregnated obviousness of the Icelandic landscapes, but the warned listener to the small play of "where did I come from there too quickly to devote myself can weave beautiful environments and insufflate already hear a rise of similar guitar? "," which group the roundness of this low does it evoke me? "or" doesn't this dialogue of six-cords recall me such or such disc? ". Perfect for a distracted, somnolent listening or "of second plan"...Skvettir Edik á ref. thus does not resist an attentive and meticulous listening. However, some very beautiful passages remain, such this saturation all in reserve, supported by a distance trombone (Efling) or the subtle melodies which bead of the guitars of E.K. It is those which make us hope that by preserving the honesty which seems to animate them and while deviating from the marked out paths of the instrumental post-rock'n'roll, Stafrænn Hákon can one day carry out a disc definitely more personal and, therefore, definitely more remarkable. ....... translated..... François Bousquet EtherReal Petit manuel de mélancolie enneigée. C'est le sous-titre qu'on pourrait donner à l'opus de Olafur Josephsson aka Stafraenn Hakon . Islandais, Hakon cultive dans sa musique une tristesse faite de neige fondante et de mousse qui recouvre jusqu'à la très belle pochette de l'album. LP diffusé largement par le label Resonant après une sortie en catimini confinée aux rives de l'île du nord. Un nouvel album devrait d'ailleurs atteindre nos oreilles début 2004 . On a appris à connaître l'Islande musicale, dans les années 90, au travers des travaux de Sugar Cubes, Björk et Gus Gus … On a découvert au début de ce nouveau siècle, que l'électronica n'était pas le seul fer de lance de cette scène musicale, quand sont arrivés, sur les platines, les très langoureux et éthérés albums de Sigùr Ros . Stafraenn Hakon place son essai dans la seconde catégorie de représentants de l'île. Plus mélodique ou cyclique que l'illustre formation Sigùr Ros , Skvettir edik a ref est surtout moins expérimental et « arty ». L'album puise dans les cendres du post rock la capacité à traduire en de longues plages aériennes, les états d'âme de Josephsson , au diapason du paysage de son pays d'origine (la récente migration de l'homme vers Edinburgh est-elle présage de nouvelles influences dans la musique de l'homme ?). Plus mâture qu'un Mogwai par exemple, moins revendicatrices et enragées surtout, les compositions de Stafraenn Hakon sont faites de douce tristesse, de désolation, de vents froids ou humides, de terre sombre et d'apparents regrets. Difficile d'extraire un titre plus qu'un autre dans ce continuum temporel et musical que forme Skvettir edik a ref. On entre par hasard et presque à reculons dans son univers, et on finit par se sentir presque impoli de quitter l'hôte avant d'avoir bu son histoire sonore jusqu'à la dernière note. Progressant en spirale, l'album s'invite par quelques arpèges de guitare folk : d'abord amplifiée puis légèrement distendue. On repère ensuite un souffle d'enregistrement trop présent pour être fortuit. Suit un larsen, poursuivi par quelques notes de piano midi, ou de balalaïka électronique, qui étoffent progressivement chacun des morceaux d'histoire que le disque se plait à nous raconter. Le duo basse-batterie reste toujours au second plan, sorte de battement de cœur, de rythme sous-jacent à tout l'album. Ingrédients majoritaires de ces dix plages, ils ne nous quitteront plus; imprimant dans notre (vague à l') âme les images que l'auteur tend à nous suggérer. L'hypnose est le point fort de cet album efficace. Progressant par pallier dans l'univers de son auteur, l'auditeur est totalement envahi par ce maëlstromm sonore qui réussit à transmettre les sensations et les images que le musicien cherche à partager avec son public. Voie médiane entre Mogwai et Sigùr Ros , Stafraenn Hakon ne se pose pas en grand rénovateur d'un genre désormais largement représenté. Pourtant, à force d'artifices musicaux en forme de regard hypnotique, il réussit à nous introduire au beau milieu de son univers mélancolique et accidenté. Sans aucune autre prétention que de partager sa mélancolie. Et il atteint son objectif, avec la plus grande humilité. *** Denis Benzine Deuxième album de Stafrænn Håkon a être édité sur Resonant, six mois après ...Skvettir Edik á Ref , album certes très agréable mais trop peu original, I Astandi Rjúpunnar avait pourtant été enregistré (et sorti de manière autoproduite) avant celui-ci par les musiciens islandais. Il ne manque donc plus que le premier disque ( Eignast Jeppa ) pour reconstituer la discographie complète du groupe d' Olafur Josephsson avant qu'un quatrième disque (probablement un double album) ne paraisse à l'été, toujours sur Resonant. Nappes cotonneuses, jeu sur les variations d'intensité, science des mélodies et plongées abyssales de guitares constituent, cette fois encore, le socle commun aux morceaux de Stafrænn Håkon et, cette fois encore, on songe à nombre de formations de post-rock instrumental atmosphérique en écoutant la musique des islandais. Pour autant, on prend plaisir à se lover dans ces ambiances réconfortantes où un glockenspiel discourt délicatement avec un piano tandis que des samples d'émission de radio sont diffusés ( Iodine ) ou dans lesquelles un profond trémolo de guitare se voit soutenu par une boîte à rythmes tout en retenue ( Hvíti Hákarlinn ). Si l'impression de « déjà-entendu » se fait dans l'ensemble moins présente que sur ...Skvettir Edik á Ref , c'est probablement grâce à une plus grande diversité dans les éléments et sonorités utilisés : jeu sur les harmoniques des guitares ( Hvarf ), samples vocaux, plus grande place dévolue aux textures ( Afglapi ). Cependant, au sortir d' I Astandi Rjúpunnar , on continue d'espérer un véritable disque personnel de Stafrænn Håkon, débarrassé de ces références parfois encombrantes et un peu plus aventureux ; le double album annoncé sera peut-être à la hauteur de ces attentes. François Bousquet EtherReal Read more on Last.fm.

VENTILL/POKI Released september 13th 2004 on Resonant UK Info: 4th album by Stafrænn Hákon was recorded, pre-mixed at home 2003-2004 and at Code Red studios Reading april 2004. Mixed & Mastered at Code Red by Daniel Lovegrove (Dialect) may 2004. All songs by Stafrænn Hákon except Blek, Kvos & Vetur co-written by Samuel White & Stafrænn Hákon. Ólafur Josephsson: guitars, bass, drum-programming, synths. Samuel White: guitar on Blek, Kvos & Vetur Daniel Lovegrove: drums & percussion. Bass on Vetur Þröstur Sigurðsson: trombone on Blek & Kvos. Tracklist: Unnar Blek Vogor Rafmagn Eder Grænn Haus Kjammi Górecki Magnús Kvos Vetur buy: Stafrnn Hakon - Ventill / Poki order from Resonant order from Amazon order LP from Norman Records Reviews: "Last year's Hakon album, 'Skvettir Edik a Ref', was largely self-produced and played. Beautifully sedate, it combined cool ambient arrangements with warm guitar melodies. 'Ventill/Poki' is fleshed out with guest musicians on most tracks, and a bolder if more conventional sound. Fortunately Hakon's compositions are still masterful studies in layered arrangements, and while he now incorporates a full rhythm section, the frequently mesmerising, seamlessy interwoven combination of electronica and ambient guitar remains in place. Like fellow Icelanders Sigur Ros, Hakon does have a weakness for the epic, occasionally over-egging things with sumptuous layers of instrumentation. Elsewhere the solid drumming sometimes anchors the music too much. But when he gets the balance right, which is most of the time, this proves a worthy successor to his previous work." Tom Ridge The Wire After two massively respected full-lengths on Resonant, the much-lauded Stafraenn Hakon is about to step up a gear or two. Ventil / Poki features Stafraenn's first new material in two years - on the back of the success and acclaim that met the aforementioned "Skvettir Edik a Ref" and "I Astaandi Rjupunnar", both of which were old albums deservedly seeing light of day for the first time beyond his native Iceland. Whereas those two were effectively home recordings using basic instruments and means, "Ventill/Poki" is the end result of a week in a studio in England with the help of fellow Resonant artist Dialect, using live bass and drums sounding like the product of a band rather than one guy. That said, it retains the feel of his previous work, and shimmers along similar territory to Sigur Ros and Ulrich Schnauss – quietly euphoric and unashamedly romantic. Recommended. Boomkat Gjöful og skemmtileg (in icelandic) Ventill / Poki, breiðskífa með Stafrænum Hákoni, en svo nefnir sig tónlistarmaðurinn Ólafur Jósepsson. Ólafur semur sjö laganna einn, en þrjú með S. Samma sem leikur á gítar í þeim lögum. S. Daníel leikur á trommur í nokkrum lögum, S. Doddi á selló og S. Töddi á básúnu. Þetta er fjórða breiðskífa hans en áður hafa komið út heimagerðar skífur í heimagerðum umslögum. Resonant gefur út. 62:04 mín. ÓLAFUR Jósepsson / Stafrænn Hákon hefur haldið sig við heimabruggið til þessa og en gefur nú út plötu á vegum þeirrar merku og virtu útgáfu Resonant. Á Ventli / Poka tekur hann undir sig stórt stökk inn í epíska naumhyggju, allir hljómar eru meiri um sig, rými á milli þeirra betur markað og hljóð hljóma betur. Líklegt verður að telja að hann hafi við höndina betri tól og tæki en fram til þessa, verkfæri sem gera honum kleift að hafa tónlistina skýrari og hreinni og um leið sterkari en áður, en hugsanlegt líka að hann hafi komist í betra hljóðver en forðum. Það hefur og sitt að segja að hann notar meira af lifandi hljóðfæraleik en áður, fær til liðs við sig mannskap til að spila á trommur, selló, gítara, bassa og básúnu, eftir því sem við á. Upphafslagið, "Unnar", er einkar dægilegt, falleg laglína og þung undiralda skapa einkar skemmtilega sveimkennda stemmningu. Básúnan er skemmtilega notuð og sellóið skilar hlýum tregablöndnum hljómi. Sama er upp á teningnum í næsta lagi, "Bleki", en þar er ljúfur gítar í aðalhlutverki þó óreiðan kraumi undir niðri. Þannig vindur plötunni fram að mestu leyti, átök hófleg, en fullt að gerast í hverju lagi þegar maður tekur að rýna í það. Gott dæmi er "Vogor" þar sem skemmtilega teygjanlegur taktur knýr lagið áfram. "Eder" er náskylt því, meinleysisleg gítarklifun lifnar við með taktlykkju sem er teygð og toguð, smám saman byggist upp spenna sem brýst svo út í hrífandi sterkum millikafla. Það er líka boðið upp á takt í "Kvos" undir lok plötunnar, raftakti og mannlegum áslætti er þar blandað saman á skemmtilegan hátt. "Kjammi" er svo hápunktur plötunnar að mínu mati, geysiöflugt lag með stöðugri stígandi og endar sem hátimbruð hljómahöll. Næsta lag þar á eftir, "Górecki Magnús", er lítt síðra, en full stutt finnst mér. Stafrænn Hákon hefur bætt sig til muna og var þó góður fyrir. Poki / Ventill er framúrskarandi plata sem sýnir á sér nýja hlið við hverja hlustun Árni Matthíasson, Morgunblaðið Well it says right on the shrinkwrap sticker that this is "mellow, instrumental post-rock so freaking lovely...Sigur Ros move over". Hmm, can't really argue with that since it's quote from the Aquarius review of one of this Icelandic one-man-band's other albums! He's now back with his third Resonant label full-length, and if you liked the gentle sounds made previously by Stafraenn Hakon (aka Olafur Josephsson) you'll undoubtedly swoon for this disc as well, especially if you thought his music should be even more sweet and lush and blissful, 'cause that's where he's going with this. But there's a certain sadness inherent in his compositions that keeps them from ever getting too treacle-y. Gauzy ambient shimmer melts over organic instruments and some shuffling, vaguely glitchy electronic beats, as this album-length lullaby drifts by, pleasant and glorious. Though it may seem like this artist has cranked out a lot of releases lately, this is actually his first 'new' material recorded in two years! We're glad to see he's still in top form. AQUARIOUS RECORDS There's plenty of new music to listen out for this week and definitely worth a mention are the stunning tracks from Iceland's Stafraenn Hakon. You might say that Iceland has had its time as the in-place for musical coolness, but the cold island is still the central hub for some of the best and most interesting music around. The country's reputation was first brought in to the mainstream by that devilish little pixie, Bjork. Since then though, the experimental melody makers Sigur Ros have made a name for themselves and their homeland, and its wild and rich landscape has been sought for inspiration by artists such as Damon Albarn, Coldplay and San Diego's Jimmy Lavalle. If you haven't heard of Lavalle, check out his hauntingly beautiful album In A Safe Place, recorded under the artist name, The Album Leaf. Ventill/Poki is Stafraenn Hakon's third album recorded for the Resonant label but the body of work has only been available outside Iceland since March. He makes beautifully ambient post-rock with live bass and drums mixed with electronics, and the result is that it's difficult to believe that this music is the work of just one man. Unlike the first two albums, which were essentially home recordings, Ventill/Poki was recorded in a studio in England and it certainly has a more professional feel to it. None of the simple appeal has gone though, making this album the best of the three. Sit back, close your eyes and allow creeping Icelandic melodies to wash over you. If you enjoy this stuff, remember to check out Sigur Ros, Mum, Dialect, Sk/Um, The Album Leaf, Olvis, Mogwai... MusicChoice Whereas his two previous albums were effectively home recordings using basic instruments and means, "Venti / Poki" is the end result of a week in a studio in England with the help of fellow Resonant artist Dialect, using live bass and drums sounding like the product of a band rather than one guy. That said, crucially it retains the 'feel' of his previous work, and is more potent and powerful rather than allowing anything to get lost in the mix. Piccadilly Records THIS THIRD FULL ALBUM FROM STAFRAENN HAKON IS A SUPERB DEVELOPMENT ON THE FIRST TWO. THE FIRST THING THAT STRIKES YOU IS THE MORE BAND ORIENTATED SOUND THAT KICKS THINGS OFF. A DRUMMER, PROPER SONGS, ALL MIXED UP WITH THE SUPERB TRADEMARK LAYERED GUITAR SOUNDS. KIND OF LIKE SOME OF THE EARLIER CONSTELLATION MATERIAL BACK WHEN THEY WERE LEADING THE WAY WITH THIS KIND OF MUSIC. A BEAUTIFUL BALANCE DEVELOPS THROUGHOUT THE ALBUM WITH LUSH, DENSE SOUNDSCAPES DOMINATING IN THE LATTER HALF COMBINING A FRAGILE SOUNDING = GORGEOUSNESS WITH A MAJESTIC AND SOMEWHAT EPIC STYLE. THIS IS A MAGNIFICENT PIECE OF WORK, FOR FANS AND NEWCOMERS ALIKE. HIGHLY RECOMMENDED. Smallfish 'It's not often I get excited in this age of blandly-packaged tat, but I think I may have just bought the album of the year, namely "Ventill/Poki" by Stafraenn Hakon. Anyone pining for the return of GY!BE or Labradford to fill the emotional gap in their lives need wait no longer. 10 tracks, all drop dead beautiful, with no annoying vocals to ruin it. Pure laidback perfection, and I'm going to see them in Birmingham next week. Yippee!' C4 Teletext The second album from Iceland's Hakon was sent to us after his PR spotted a Voider raving about it's mix of Godspeed You! Black Emperor and Labradford. Fair play to the Voider concerned, as Hakon is one of post-rock's rare artists to engage the heart, his soothing strings not as pretentious as most littering the genre. So mellow it's a tad tad one-paced, but it's stuffed with moments of great beauty. Charming, occasionally very special, and a fine recommendation. 7/10. C4 ans of the late Mogwai and Sigur Ros albums are in for a treat. Recommended by a random person I met at Crash Records, this album is a must have for any post rock fans wish list. Stafrænn Hákon has produced an album an extremely captivating album that radiates throughout. The gentle use of layered guitar and emotional melodic riffs captivates one's imagination and transports you to a glacial wonderland. In songs such as "Vetur" and "Unnar" Hákon manages to subtly merge electronic drum loops with classical instruments such as cellos and trombones yet maintains the guitar movements that bands such as Godspeed you black emperor! and Mogwai are keenly associated with; except for the extreme noise outs which is a welcome break from the traditional verse chorus verse chorus chorus WALL OF NOISE that seems to dog the post rock genre. Melodic and lush this album gives us an introspective view into the melancholic mind of Stafrænn Hákon . Even though it's only October ask your parents, friends or other-half to get you this for x-mas now! 4,5 / 5 Leeds Music Scene Fort de deux albums plus qu'honnêtes sur le label Resonant , Stafrænn Hakon revient avec son post-rock embrumé aux forts accents de Mogwai et Sigur ros. De son vrai nom Olafur Josephsson , Stafrænn Hakon , cet islandais de naissance nous invite une fois encore à parcourir les étendues infinies de sa région à travers une musique lente, progressive et entièrement dédiée à la méditation. Toujours les mêmes impressions au sujet de Stafraenn Hakon , qui a défaut de sortir des disques identiques, reste dans des schémas similaires quant à la musique qu'il propose. Nappes légères et éthérées, mélodies douces, lumière blanche, etc, sont une fois encore au programme de ce Ventill/Poki . Et même si le plaisir est toujours là, on ne peut s'empêcher d'être un peu déçu de ne pouvoir écouter toujours et encore que ces sempiternelles harmonies, ces ambiances polaires, aussi belles soient-elles. Album malgré tout séduisant et réussi, mais comme on l'a dit, sans doute trop dans la continuité des précédents opus, ventill/poki nous laisse la même impression que celle que peut vous laisser un vieux pote qui raconte toujours les même vannes mais que l'on aime malgré tout pour sa bonne humeur communicative. Ici on ne parlera pas de bonne humeur mais simplement de bonne musique, de musique de plaisir, simple et belle, quel l'on a envie de partager et de faire écouter à ceux qui voudront l'apprécier pour ce qu'elle est. **** Benoît Richard De mensen die Björk , Sigur Rós en múm het einde vinden, nodigen we aan volgende week nóg een stap verder te gaan in hun zoektocht naar muzikale schoonheid uit het hoge noorden. Van 2 tot en met 9 december vindt in Gent namelijk ‘Etoiles Polaires' plaats, een zogeheten Vooruit Geluid Festival dat zijn (noorder)licht wil laten schijnen over artistiek talent uit de arctische gebieden. Je kan er dan terecht voor (muziek)films uit de landen rond de Noordpool, voor video- en geluidsinstallaties en tentoonstellingen van beeldende kunstenaars. Toch ligt de nadruk op muziek: Inuit hiphop (met Nuuk Posse uit Groenland), keelzangeressen uit de ijsvlakten van Nunavik in Québec, dans en zang uit Alaska, Siberië en Lapland. De schare IJslandse artiesten op het programma lijken er plots “heel gewoontjes” bij, al is dat natuurlijk heel relatief. Niet zelden is het niveau van de muziek uit deze regionen recht evenredig met de geografische ligging… Björk en Sigur Rós niet meegerekend (beide acts worden sinds ze bij een major zitten, naar verluidt door sommige landgenoten een beetje met een “scheef oog” bekeken) is de crème de la crème van de IJslandse scene present. Wanneer u op woensdag 8 december niet weet wat te doen, dan raden we u aan af te zakken naar de Vooruit voor Eberg (de man die o.a. een met snaren bespannen kleerhangertje bespeelt) en Stafrænn Hákon. Nadat Hákon (voor de burgerlijke stand Olafur Josephsson) in 1999 de band Sullaveiki Bandormurinn verliet, begon hij te experimenteren met gitaren en drumloops. Gaandeweg ontwikkelde hij zijn eigen stijl, een soort ambient gitaarmuziek; laagjes warme gitaarmelodieën die over elkaar werden geplakt en gestut door een drummachine. Na enkele huisgemaakte e.p.'s en langspelers (‘Skvettir Edik a Ref' en ‘I ástandi Rjúpunnar') die later werden opgepikt door enkele grotere labels, is Hákon met ‘Ventill / Poki' aan zijn derde langspeler toe. Dit is slechts een fractie van 's mans productie, want met de regelmaat van de klok stuurt hij nieuwe releases de wereld in (soms met een oplage van slechts 50 exemplaren). Het is dan ook haast onbegonnen werk het integrale oeuvre van de naar Groot-Brittannië uitgeweken Ijslander in een overzicht te gieten. Qua intensiteit en subtiliteit combineert hij het beste van múm en Sigur Rós (zonder zijn landgenoten evenwel te plagiëren of te kopiëren). Het ene moment klinkt zijn muziek heel erg fragiel, dan weer laat hij het geluid zo aanzwellen dat hij uitkomt bij de epische walls of sound van Sigur Rós. De vergelijking met In A Safe Place van The Album Leaf, de plaat van James LaValle die eerder dit jaar verscheen en waarop múm- en Sigur Rós-leden meededen, ligt dan ook voor de hand. De schoonheidsfoutjes waarop Onze Man In A Safe Place betrapte, zijn er hier evenwel niet bij. Niet alleen wordt er nergens gezongen op deze plaat, de tien tracks hebben meer body dan die van The Album Leaf. Hákon is er wel in geslaagd zijn gastmuzikanten mooi aan de leiband te houden en alleen datgene te spelen wat de nummers ten goede komt. Een prominente rol is uiteraard weggelegd voor Hákons subtiele gitaarspel en voor wat spaarzame drummachine-geluidjes, maar de aanwezigheid van live drums maakt dat de muziek iets ruimtelijker en concreter klinkt dan die van LaValle. Alsof Mogwai plots zou zijn overgeschakeld op zachte wiegeliedjes. Wat dit alles live geeft, zal volgende week blijken in Gent. Maar als u weet dat Hákon in het verleden al het publiek van zowel postrockbands (Godspeed You! Black Emperor) als elektronica-acts wist te bekoren (Ampop), moét u wel hoopvol gestemd zijn! **** Markus Niementhaler Read more on Last.fm.