Dead Flowers: Anglophiles Anonymous

Maria Huld Markan, Edda Rún Ólafsdóttir, Sólrún Sumarliðadóttir, and Hildur Ársælsdóttir, together known as Amiina, are a group from Iceland. Their debut LP "Kurr" will be released on March 21st. Many initially got to know the group as Sigur Ros' string section, and they share that band's adventurous approach to music and instrumentation. Listeners who enjoyed the more contemplative sections of "Takk" will find Amiina's music a welcome addition to their library. I spoke to Hildur from the group, who you might have seen playing the saw, among other instruments.

Thanks to Greg at http://aminamusic.com for general assistance and question help. Thanks as well go to the band's manager, Edna Pletchetero, for making the interview possible.

Dead Flowers: You started as a string quartet rather than as a rock band. How has that affected your approach to music?

Hildur: I'd say to some extent, the way we think is very influenced by our classical upbringing. the importance of instrumentation and nuances for instance. and also the fact that we don't depend on one main melody. it's more about layers and weaving independent melodies together. but this isn't classical music we are making, the cords and the structure of alot of the songs are more pop orientated.

DF: Your songs create a very specific mood. Do you set out to evoke certain emotions with your music?

H: Not really. but we seem to be an endless source of melancholy.

DF: Now, an existential question: Why Amiina? What do you feel you can do in the context of the group that you can't do with Sigur Ros?

H: We have worked with Sigur Rós for a very long time, and had creative input, but we are not in the band. with amiina the process of starting a song from scratch is ours, the direction and the mood of each song is solely in our hands. when we were doing creative work with Sigur Rós it mostly consisted of adding our work to their world of sounds. it's actually two very different things. Although both very enjoyable.

DF: What is your favorite instrument to work with? When on tour, are you constantly on the look out for new instruments?

H: Haha, that's a good question to ask a band with 30 instruments on stage! it probably depends alot on which member you ask, and also on periods. we had a period where we could not make a new song without using our table harps in it, and we ended up traveling with 4 of them everywhere we go. but now everyone is tired of tuning them, so for some reason no one mentions the harps when we are writing new material! the metalophone seems to end up used in every song, and we are all in love with the celest, but that's a rare and expensive instrument, so only when we are lucky enough to borrow one. i think the best answer to the question would probably be that which ever instrument is the newest at any time is the most popular one. today it's probably the nord-compact we just bought to replace the beautiful fragile harmonium on tour.

On tour we don't really have that much time to look out for new instruments. but of course if we get free time and there is a place with interesting stuff nearby, we're very likely to be seen there yes.

DF: Your songs move at a slower pace than most pop/rock music today; new layers are revealed gradually over the course of each song. Was this approach intentional, or is that just the most natural tempo for you?

H: I guess it's what comes natural for us. usually we don't start out saying:
"ok, let's make a really slow song with many layers". on the contrary, even
if we start out wanting to do a simple, cheerful song, this is what comes
out. we can't help it.

DF: The "Seoul" b-side "Ugla" has vocals on it, while your earlier work was instrumental. How did you decide to incorporate your voices?

H: There are 4 of us on stage, and a lot of the time we are in desperate need of
more hands. because when we are writing and recording, we tend to add more
layers than is physically possible for us to perform with 8 hands. here the
voices come in handy, four layers that don't take away any of the already
working hands. this is at least one of the reasons why we are incorporating
our voices more and more into our songs. but for now, we like to use them
more as additional instruments, rather than a lead melody.

DF: You have what one could describe as a 'symbiotic relationship' with Sigur Ros. Some tracks on "Takk" sound very similar to Amiina's music. What do you think the group has learned from you? What have you learned from them?

H: Hmm. i don't know. we have spent a lot of time together, playing together and as friends. and certainly you are influenced by your surroundings to some extent, but i really can't speak on their behalf. And I'm sure they are a big influence on us without us necessarily noticing it, it's eight years since we played the first concert with them. i think working with them and spending so much time in this environment has made us feel certain that you don't have to make music the same way everyone else does. so maybe that played a part in us wanting to start making our own music, i don't know. but then again if they had been the "traditional" pop/rock band we would probably not have lasted this long together.