"Welcome to Iceland — last line of the pop culture!" This road sign is sorely missed on the road from the international airport in Keflavik. When you look at the harsh rocky landscape surrounding Reykjavik, Iceland — here fresh snow adjacent to the blue-black spots of lava and from the horizon against a gray winter sun rises ridge fallen asleep, but still threatening-looking volcano before that sometimes appear white clouds of steam from the fed indomitable energy land of geysers, — it is difficult to believe that this country is able to produce anything rhythmic. However, in a small rehearsal studio in snowbound and windswept alley in the center of a band called The Sugarcubes case prove to the world that rock and roll can exist even in this unfriendly geological paradise. The four musicians, bent over the tools currently raising a tornado in which sharp, aggressive bass passages, tight guitar passages and heavy powerful rhythms united in bright hypnotic melodies. On top of this exotic turbulence singer Bjork Gudmundsdottir — elven kind young beauty with unusual almond-shaped eyes and a silly girlish smile — creates its own magical space with the help of the amazing voices, unpredictable and exciting at the same time in their wild swings. Within a single line they move from the romantic tenderness to fierce roar, occasionally punctuating the vocal line of the Indian military and cries shocking inhuman cries.
In the music of The Sugarcubes hear familiar echoes: a little U2, little hyperbolized Blondie, a little bit of abstract art in the spirit of the Talking Heads, scraps of vintage punk. When the second vocalist — tightened in black leather, blond young man named Einar Orn — raises his voice, the combination of its predatory roar and emotional howling Björk reminds dialogic games of recent X and classic Jefferson Airplane. You may feel that you’ve heard like this before, but certainly not in this version. The Sugarcubes create music similar to Iceland itself: it is a combination of extremes that can be both mysterious repulsive and attractive.
«We live in a hot spot, — says Einar after rehearsal, often puffing a cigarette and reflecting on the theme of communication Icelandic landscape and electrified sound The Sugarcubes. — We live on the volcanic cliffs of the glacier. We were once asked if we are not afraid to live in a place like this, but we do not think about it in that sense. It just adds a little bit of courage in us and our music. We are ready for anything. «
Including to worldwide fame. The Sugarcubes were just two years ago and have already loudly announce itself. «Birthday», their first single, last year rose to the top spot of the British indie charts and was voted single of the year the British music weekly «Melody Maker». The next single «Cold Sweat» — discouraging boiling mixture of sensuality and hard-and-heavy intensity, enhanced vocal counterpoint and Einar Bjork — also became an indie hit in the United Kingdom.
To fully appreciate the unusual success of The Sugarcubes, it is necessary to understand the context. Another 70-hkontserty and dancing in local schools were banned, and most of the musicians played a cover of hotel discos. As such, the rock ‘n’ roll in Iceland was not until 1981, when the British punk explosion of creativity is called, leading to the emergence of more than fifty new groups working in avant-garde style and treshovom who sang exclusively in Icelandic. Many of these groups have quickly disappeared from the radar, but the best of them is Theyr, PurrkurPillnikk, Vonbrigdi- laid the foundation for Reykjavik underground scene.
In fact, The Sugarcubes- is an Icelandic rock super group founded last of the Mohicans, who took up the tools in the 81st. Behind them, however, it is already a whole cohort of powerful formulations ready to break into the international arena. These are groups with colorful names such as SH Draumer («Black and white dreams»), Sogblettir («Love Bites»), Bleiku Bastamir («Pink bastards») and the Daisy Hill Puppy Farm. In Iceland, there is even a Springsteen — rocker-leftist named Bubba Mortensen, formerly worked at the factory for the processing of fish. His drive 1987 «Dogun» sold in Iceland four times more copies than «The Joshua Tree» U2.
The same pioneering spirit that inspired the coup 81st year now pushes forward The Sugarcubes — Einar, Bjork, bassist Bragi Olavssona, guitarist Thor Eldon, drummer Siggi Baldurssona and keyboardist Einar melaxen — already ready to conquer the American heart and create an international name for Iceland music thanks to his debut album «Life’s Too Good», released by the label Elektra. The disc is a charmingly eccentric mix of songs — from light «Delicious Demon» to «Deus», surreal ballads, where Bjork sings that God passionately grabs it with her «marzipan fingers» and «marble hands.» Still, you might ask that, except for their unusual addresses, making The Sugarcubes — or, in Icelandic, Sykurmolamir- especially in the modern world filled with eccentric pop group?
«Professional rock music lacks vitality, love of life, — said Thor with a sneer. — And we have this in abundance. We are in harmony with life itself. » Well, Lee, welcome to Iceland — this latest milestone of pop music.