Blog

ByGD

Music I Like – From Iceland

At times this blog has mostly been about Iceland, but external pressures and new obsessions have led my attention astray lately. I even missed the Reykjavik Calling concert this year when it landed on the same day as my opera tickets. While I blinked, my favorite frozen rock in the North Atlantic didn’t stop putting out great music. Here is some newer music I like from Iceland.

Sólveig Matthildur

I always felt a little guilty that I couldn’t get into Kælan Mikla. But when I heard Constantly in Love, the second solo album by Kælan Mikla keyboardist Sólveig Matthildur, I was instantly pulled in to the dark electronic atmosphere.

.

Misþyrming

I’ve always been more of a death metal girl, and I cam to the black metal party very late, via Iceland. The first black metal bands I ever liked were Svartidaudi and the band that came to be known as Zhrine. Since then, Icelandic black metal has continued to be my favorite flavor. Misþyrming is one of the best of the bunch, in my opinion and I think in everyone else’s.

On first listen, Algleymi didn’t grab me by the throat the way earlier releases did. I was initially put off by the fuzzier production – more kvlt, but I like cleaner recordings, even when the music is distorted. Then the vocals on third track evoked old Ministry and I got over it. Then the guitars went all Ennio Morricone on track four, and after that resistance was futile.

.

Kronos Quartet & múm

I’ve been into múm for a very long time, but I’ve never paid Kronos Quartet the attention they deserve, and I ignore splits as a general rule (it’s just one way I try to filter the flood of new music). That’s going to have to stop now that I’ve heard this split in which Kronos Quartet rework múm’s “Smell Memory” on one track and múm remaster the song on the other.

.

Kælan Mikla

Okay, I lied. When I first heard Kælan Mikla at Eistnaflug in 2014, they weren’t really my jam. But after I heard Solveig’s solo stuff, I started thinking about what a new band they were then, and how long they’ve stuck around. I got curious about their new sound, and, um, I liked it. They have evolved a ton from the DIY-sounding punks I saw. Nótt eftir nótt is so sophisticated and lush, I wouldn’t have recognized the band at all. Kælan Mikla have really grown up.

.

Marína Ósk

I’m breaking my “no singles” rule again here, but I don’t think Marína Ósk even has an album out. {Update: She does. It’s called Athvarf and it’s on Spotify.} Reykjavik Grapevine listed the lyric video for “Ég sit hér í grasinu” (which I’m guessing is a lengthy cognate, “I sit here in the grass”) as an asset for language students. They were mostly joking, of course, but this video reminded me how much I love the sound of Icelandic, and made we want to renew my attempts to learn more of it. And it brought back that old fernweh feeling.

ByGD

Airport Approach

Airports are so big that you usually only see them in pieces, just a sliver out the airplane window, or a looming entrance as you hop out of the car. But the shuttle from our “airport hotel” to Pudong near Shanghai followed a road that gave us a pretty good view. I had to take a picture because it is so odd to see a whole airport.

ByGD

Catapult’s Homeland Was New Territory for Me

Catapult Dance “Homeland” photo by Jazzy Photos, Joseph Lambert c/o Catapult.

After meaning to go for several years, I finally saw a performance by the contemporary dance group Catapult Dance Company last month. They’ve been around for five years, and I’ve been meaning to go see them for almost as long. The piece was called Homeland, and I saw it 24 hours after seeing Carmina Burana at Pacific Northwest Ballet. The contrast kind of messed with my head. But in a good way.

Catapult Dance

Catapult Dance is a nonprofit contemporary dance company in Seattle headed by Michele Miller (who is also my daughters’ martial arts teacher). They are a small company, both in number and in output, producing only one or two new works each year. According their web page, all the work is a combination of choreography by Miller and improvisation by the dancers. Their technique is described as an amalgamation of forms that includes modern dance, contact improvisation, martial arts, and physical theater. Kate Olson develops a score for each new piece as it is being developed. Looking back through their history, all the dances address topical social issues.

Homeland

Homeland, as you can probably guess, relates to human migration; the walls we build to keep people in or out; and whether those walls contribute to our feelings of safety or fear. Compared to the dance I’m used to, Homeland was so literal. I mean, even the old story ballets have like a code of pantomime movements that stand for actions. Throughout the hour-ish long piece, the dancers built and destroyed walls, hid behind them and struggled to get over or through them. A couple crossed the Sonoran Desert alone, and one of them doesn’t make it. (Don’t ask me how they made a black box theater be the desert. Something about the lighting, maybe, but it was obvious.) A detainee pounds on doors (there were actually doors in the wall – we didn’t have to imagine those) looking for escape or demanding release.

New Territory

Homeland was a challenging piece for me as a viewer just because the idiom was so different from what I’m used to. This post is coming a long time after PNB’s Carmina, but that ballet was still fresh in my head when I saw Homeland. I could almost feel gears in my head trying to shift.

I know that I missed a lot of things from not knowing where to put my focus. The score zigzagged over the line between noise and music so much that I failed to recognize meaningful musical references when they came up. My friend who watches a lot more contemporary dance than I do had to point it out to me. My daughters noticed a lot of movements from kung fu that I didn’t pick up on, even thought I had been told to look for them.

Catapult Dance “Homeland” photo by Jazzy Photos, Joseph Lambert c/o Catapult.

The most obvious differences between ballet and contemporary dance is pointe work. But even a lot of my favorite ballets are barefoot, so that doesn’t bother me. But one thing about contemporary that I have a hard time with is all the walking around. I’ve noticed it at Kaleidoscope performances, and at SIDF earlier this year (that sums up all of my exposure to contemporary dance). Homeland, with its focus on migration, had even more walking around, and honestly, it tested my patience.

But then every time I started to tune out or wonder if these dancers just needed to catch their breath more often than ballerinas, something big would happen and I’d almost miss it. There would be something kind of like a lift except in a shape I’d never imagined before. Or I’d think, “Wait, did that person literally just climb a wall?”  I appreciate the classical structures underlying ballet, but my favorite moments are when I see completely new movements, and Homeland offered up a lot of them.

Souvenirs from a New Territory

It was humbling to realize that even with such straightforward stories, I had to work at Homeland. As a ballet fan, I can get a little smug about the people who prefer tutu ballets or only want to watch dances created before 1950 (especially because they usually forget the really innovative things that happened in the first half of the 20th century – Limón anyone?). Smug and complacent are really close neighbors, the kind who like to build walls.

I am not the kind who likes to build walls, so in one sense, Homeland was preaching to the choir. (Not that it was actually preaching, because as a teacher once told me, “Art asks questions.”)

Catapult Dance “Homeland” photo by Jazzy Photos, Joseph Lambert c/o Catapult.

Homeland focused a lot on the suffering of those who must replace one homeland for another, but the dancers frenetically stacking blocks and cowering behind them weren’t showing much joy either. But not all walls are literal. Habits of the mind can be confining, too, and one of the most significant reasons for attending performances is to break down the walls you didn’t know you were building.

ByGD

La Cenerentola (Not Cinderella) at Seattle Opera

Wallis Giunta (Cinderella) and Matthew Grills (Don Ramiro). Sunny Martini photo c/o Seattle Opera

Few opera composers are as well-loved (especially at my house) as Rossini, and everyone loves a fairy tale. Rossini’s opera is actually named La Cenerentola, which is a mouthful. If it’s easier, he also called it Goodness Triumphant. But it’s a good idea to use one of these names rather than the more familiar one, because Rossini’s Cinderella is not Disney’s Cinderella. And the “long ago in a land far away” of Seattle Opera’s Cenerentola is Dickensian London.

Read More
ByGD

Qingdao Yacht Club

Qingdao hosted the sailing event at the 2008 Olympics, but sailing is not just for foreign competitors. Contrary to impoverished stereotypes, the Chinese own plenty of their own sailboats. There’s even more than one Qingdao Yacht Club.