Reykjavik-based electronic producer / multi-instrumentalist Olafur Josephsson first conceived his Stafraenn Hakon (Icelandic for “digital Hakon’) project back in 1999 when he found himself continuing to experiment with the 4-track recorder in his basement, following the break-up of his former college indie rock band Sullaveiki Bandormurinn. Recorded on 4-track using only guitar, bass, melodica, drum machines and tape hiss as the fifth “instrument’, Josephsson’s 2001 debut album as Stafraenn Hakon Eignast Jeppa attracted considerable critical acclaim upon its release through US label Secret Eye, with much of this attention focusing on its comparatively DIY origins. Ensuing albums Skvetter edik a ref and Ventill/Poki (both released through the UK-based Resonant label during 2004 have seen Josephsson discard the lo-fi trappings of his debut, in favour of building vast, cinematic landscapes that he self-describes as “a mix of post-rock, lo-fi, ambient guitar and electronica.’ With the latter album being Stafraenn Hakon’s most well-received to date and accompanied by an extensive UK tour, there’ sure to be considerable levels of anticipation surrounding this fifth album in total, Gummi.
Without resorting to cliché, I often find myself wondering exactly what it is about the Icelandic surroundings that leads artists from that particular country to produce such gorgeously enveloping and emotionally sweeping music – indeed, upon first listening to Gummi’ nine tracks, I found myself immediately tracing aesthetic comparisons to recent works by both fellow Icelandic acts Valgeir Sigurdsson and Mum. Like those aforementioned artists, Gummi certainly sees Josephsson creating his own cohesive “sound world’, aided by an extended cast of vocalists and instrumental players, resulting in a one hour long collection that uses subtle electronics as the icing on its post-rock / classical-infused core. Eight minute long opening track “Jarn’ gives good indication as to the sorts of lush downbeat landscapes that dominate proceedings here, with vast rolling drums tracing an epic path beneath synthesised drones, twinkling harp plucks and xylophone trills before guitars start to rise up in the mix amidst widescreen orchestration, the entire track slowly building to an emotive post-rock climax that sits somewhere between the likes of Godspeed You! Black Emperor and The Seven Mile Journey.
By comparison, Birgir Hilmarsson’s yearning vocal performance on the skittering, glitch-laden “Svetn’ calls to mind Radiohead / Thom Yorke’s forays into electronics-laced widescreen rock, with contorted synthetic rhythms giving way to a majestic guitars and drums rock-out that manages to carry plenty of delightfully erratic tics beneath its muscular exterior, while Stafraenn’s collaboration with Danish post-rock / electronic band Efterklang on “P-Rofi’ proves to be something of a match made in heaven, as well as one of the most exquisitely multi-textured highlights on offer here. Just as things threaten to float right off into strings-laced reverie however (perhaps, in itself no bad thing), “Purr Purr’ sees the electronics rising once more to the foreground, as fractured downbeat electro rhythms trace a spidery path around weary-sounding guitars, delicate piano keys and Daniel Lovegrove’s beautifully understated indie-rock vocals – think the likes of Stateless given a considerably more interesting slant. A stunningly gorgeous fifth album from Josephsson under his Stafraenn Hakon persona that’s easily his most fully-realised collection to date.
Chris Downton
