A couple of nights ago, I saw Olafur Arnalds play at the Tabernacle in London. I was stunned by the performance and left the show really buzzing. I don't often watch classical music being performed live and this was a real treat for me. Arnalds is still only 24 but already has a very impressive back catalogue of music. He's an Icelandic composer and multi-instrumentalist specialising in neo-classical pieces with an electronica edge.
Over the last week I've been listening to his last 4 releases (I really must get round to buying the 1st album he did). I don't profess to know too much about classical music so apologies for the mistakes but, for what they're worth, here's my thoughts:
Variations of Static (released 2008)
This 5 track EP is an intimate affair, never rising above 2 or 3 instruments at any one time. It starts with a purely classical piece then a drum machine reveals itself and the album as a kind of classical electronica. There is a very imaginative use of computerised samples and combined with pop-like element to the piano compositions it is definitely a modern piece. The piano does focus on the minor keys and together with an understated violin it feels quite autumnal. There is a lovely interchange between the 3 main instruments: piano, cello and violin but all 3 compliment each other without trying to take over. I like the restraint in the way the instruments move in and out, throughout.
Each track merges seamlessly into the next and often cross-reference each other. You can take the tunes in isolation but when added together they really are greater than the sum of their parts. The title is a misnomer as this is anything but experimental 'noise'. Without getting too deep, I'm inclined to think that the title refers instead to static as in lack of movement. The composition being cyclical.
Found Songs (released 2009)
This is more melancholy, the violin playing second fiddle (pun intended) for the first half of this, his first full album, and only really coming to the fore halfway through. Some of the tracks are only a couple of minutes long but even so, there's never a feeling of being rushed through the tunes. By track 5 both the piano and violin share equal billing almost apologetically. It's noticeable that each of the 7 tracks is on it's own. I'm only guessing but perhaps the title of the album suggests the songs were written at different times and hence the isolation between them. I love each tune but the last one Ljosio, really is exquisite and the accompanying video is stunning in it's simplicity.
This is more melancholy, the violin playing second fiddle (pun intended) for the first half of this, his first full album, and only really coming to the fore halfway through. Some of the tracks are only a couple of minutes long but even so, there's never a feeling of being rushed through the tunes. By track 5 both the piano and violin share equal billing almost apologetically. It's noticeable that each of the 7 tracks is on it's own. I'm only guessing but perhaps the title of the album suggests the songs were written at different times and hence the isolation between them. I love each tune but the last one Ljosio, really is exquisite and the accompanying video is stunning in it's simplicity.
Dyad 1909 (released 2009)
This is his most experimental work to date and has a real sense of foreboding with the instruments being played in a fuller style, perhaps darker with an almost industrial quality to it. Surprisingly, it reprises some of the samples from the Variations of Static. It is difficult at times to tell where each track starts and ends but right in the middle of the album is a cryptically titled tune '3326' which is possibly his most 'classical' piece I've heard from him, it's also the most aggressive.
This is his most experimental work to date and has a real sense of foreboding with the instruments being played in a fuller style, perhaps darker with an almost industrial quality to it. Surprisingly, it reprises some of the samples from the Variations of Static. It is difficult at times to tell where each track starts and ends but right in the middle of the album is a cryptically titled tune '3326' which is possibly his most 'classical' piece I've heard from him, it's also the most aggressive.
Straight from this to a sub-drum and bass like composition which comes completely out of the blue. This work ends almost as it starts with violin and piano interspersed with sound effects. It reminds me in part of a few things Pink Floyd did in their most experimental phase, possibly Ummagumma but I'd need to go and check as I don't have that album on my iPod! I found this the least accessible and it took me a few months of listening - going away - returning again before I got my head around it. I'm glad I persevered though.
...and They Have Escaped the Weight of Darkness (released 2010)
This is his longest and most accomplished album to date. Comparatively, quite similar to Found Songs in the style and tempo but unusually starts off without an extended introduction. We're thrown straight into the tune. I wonder if the title of the album refers to a switch from the denser, previous album back to the reflective work he is best known for. I like the way that the tunes are all sad without being melancholy. It is refreshingly free from the mawkish musical cliches.
There are recurring key patterns in the tunes and the way the piano will start, violin emerge and retire quietly and leave your emotions on a plateau, a bit like watching the sea ebb and flow. It's not until track 6 that we get the drums and electronica but the way they are introduced shows the composer's genius. There's a short interlude in track 8 but then the drums are back with a wonderful finale that wraps up all the best elements of the album into this, the last song.
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