
This lovely, riparian scene appears quite bucolic. But it’s actually the slope beside the festival parking lot cum campground at the Eistnaflug heavy music festival in Iceland. Which actually says a lot about the festival, and about the country.
There was a movie in the 80s, sort of Romancing the Stone crossed with Indiana Jones, but less memorable than that mix should have been, in which the bad guy was always taking photographs of his crimes. In a deep, heavily accented voice, he would say, “A moment, captured in time,” and then leave the heroes to die.
Earlier this summer I read a book called “Time Travel,” by James Gleick. It’s an interesting mix of history, physics, and philosophy that draws from H.G. Wells and Einstein equally to examine the concept of time travel. He talks about “old light,” and the fact that when we look at the sky and see stars, we are seeing light that has traveled millennia. The stars themselves may no longer exist by the time we see them.
I’ve been thinking about that idea lately. The building in this picture was once a fish factory. For years it stood empty, except for a few days each summer when underground musicians tracked extension cords across the puddles on the floor and set up their equipment for a series of off-venue concerts in the middle of the Eistnaflug festival. The rest of the year, the building sat unused, gradually decaying in the wet and cold of Eastern Icelandic weather.
In the year after I stood inside this building watching hooded violinists play black metal, this building was torn down. Some of the bands that played in that building the year I took this picture are world famous now. The building itself is gone, though. I can look at it right now in my picture, but it is long gone, like the music scene it once housed.
I don’t normally put pictures of other people’s kids on the internet, but these pictures are three years old and these boys are probably big enough to beat you up by now. At Eistnaflug in 2014, this group of kids was always hanging around the venue – sometimes sneaking inside it, too, since the festival was still 18+ back then.
In the documentary Eistnaflug DVD, they talk about how the festival has introduced a generation of small-town kids to heavy music, and I remember people talking about some local boys who had formed a band called Blodstafir in tribute to Iceland’s famous export band Solstafir. At the time, I wondered if it was the same group I’d seen recklessly skating in front of the venue, looking like they’d ride straight into the water of the fjord at the bottom of the hill.
I imagine that if I go back to the festival in Neskaupstadur in a couple of years, I’ll look up at the stage and find out.
At my first Eistnaflug (2014) REYKJAVÍKURDÆTUR was a stand-out act for me. They were one of the only bands I interviewed (unfortunately I never found an outlet for that interview – I should probably post it here one of these days). I probably would have been taken with the band regardless of the circumstances of discovery, because they are doing something quite new and original. But I think their feminist hip-hop, rapped in Icelandic, stood out all the more for being surrounded by the testosterone-laden atmosphere of a metal and punk festival.
I’ve noticed that my favorite shows at festivals are often the ones that don’t conform to the format. I like the rock bands at folksy Doe Bay Fest, the metal bands at Bumbershoot. Maybe the other acts blend together in the memory while the misfits stand out.
I once interviewed Gudny, the woman who booked Eistnaflug for many years, and she commented on how important it was to add stylistic variety to the line-up, even for a festival with as specific a focus as Eistnaflug. She said the oddball acts serve as a palate cleanser. Like smelling coffee beans when sampling perfume, or sorbet at a tasting menu, electronica between metal bands or metal between pop sets clear the head. “No matter how you love it,” she said, “You can’t just listen to one thing for three solid days.”