HINN ÍSLENZKI ÞURSAFLOKKUR AND CAPUT: Í HÖLLINNI Á ÞORRA 2008

I've already highlighted the several qualities of this amazing band in my seperate reviews. Take this album as the document of a fascinating reunion concert with a kind of 'best-of' set-list. I don't know if the CD/DVD is still available somewhere (please contact Charly Heidenreich from Germany or Gregg Walker of Synphonic to obtain this gem), but if it is, you should definitely get it soon. There are plenty of reasons to do so. Firstly (and profanely), this band is totally exotic and makes a fine addition to an unconventional record collection (it's not that this is the main reason, of course!). Secondly, among all the releases by bands of such a slight publicity I've rarely seen an album as affectionately designed as this one: immaculate sound and video quality, a silk-mat cardboard box, lots of photos and extensive comments. Unfortunately, the texts are in Icelandic - unsurprisingly the band is better known there than on mainland of Europe or the US.

Thirdly, and most importantly, all of the qualities of this exciting band have survived - and, in a way, ripened - until 2008. The excellent little orchestra named Capút adds a lot to the sound and provides welcome changes, for sure, but the biggest surprise might be how the new-wavey songs from the early 1980s are treated here. Seven of nine Gæti eins verið songs appear here, and those who disliked the sparse synth-pop sound will definitely be more contented with the new versions: they're a lot more organic, bassoonist Rúnar Vilbergsson plays some of the formerly synthesizer-played lines on his bassoon (most notably in Gegnum holt og hædir and the orientalisms in Nú er heima) whilst þorður Árnason plays totally heartfelt guitar solos in Ranimósk and Vill einhver elska? with the kind of inspired melodies and biting harmonics which also enriched Æri-Tobbi in 1979. The refined arrangements prove that Gæti eins verið was a jazz rock album after all, even though the jazz was hidden amidst all of the synthesizers - I really started to appreciate Gæti eins verið after listening to the orchestral versions.

Égill Ólafsson's voice, just like David Gilmour's, has become deeper and more sonorous over the years, but - as a voice - sounds better to me than before. It might be due to his professional singing techniques used in the musicals which he sang over the 1980s and 1990s, but the range is there, the power is there, the accuracy is there - a fabulous singer all the way through. Interestingly, he presents some unknown tunes from his musicals here. Apart from the more contemplative Draumasöngur Grettis and the ballad version of Gegnum holt og hæðir (both available as rough þursaflokkurinn recordings on Okomin forneskjan) it's especially the jaunty Upphafssöngur ur Gretti/Álagaþula Gláms which stands out as one of the most Canterburesque tunes here, with all of these weird chord voicings and swirling jazzy Hammond organ chords - a great song. Drummer Ásgeir Oskarsson does a great job as well: powerful, accurate and imaginative drumming.

Those who already know the studio albums will find some pleasant changes in the arrangement from time to time. I don't want to spoil the surprise, but to say the least all of these little (sometimes humorous) alterations always stay in line with the positively native and astonishingly consistent atmosphere in this concert. Granted that the landscape and atmosphere in Sigur Rós' Heima is a true representation of what is 'quintessentially Icelandic', I feel that this Þursaflokkurinn album is rooted as firmly in the culture and nature of Iceland, representing both the jolly folk aspect (Bruðkaupsvísur, Einsetumaður einu sinni) which we also know from Swedish RIO bands and the more reflective and sombre ballads (Grafskript, Skriftagangur). Surprisingly, exactly 50% of the songs have a traditional folk background. You won't notice that if you concentrate on the arrangements or the rhythms because it's mainly the lyrics (which you probably won't understand) and the melodies ('tunes') which are derived from the traditional material.

The encore, Jón var kræfur karl og hraustur, is the expection to the rule as a genuine punk rock song by bassist Tómas Tómasson, first released on the first þursaflokkurinn live album in 1980. It's always been inspiring to me to see an 'art rock' band ending a concert with such a lot of enthusiasm. (Of course, the orchestra doesn't play here.) Bassoonist Rúnar Vilbergsson, however, moves over to a second drum kit, Hammond organist Eyþór Gunnarson engages in some free-form organ bashing à la Mike Ratledge while Tómasson yells his lungs out, including a maniac scatting-plus-bass improvisation. Cathartic and hilarious at the same time, especially if you know that Tómasson is a critically acclaimed opera baritone who sang for the Wagner Festspiele in Bayreuth in 2011.

Again I have to say: this group deserves its late appreciation. These guys aren't some of the many third-row prog plagiarists, and it also ain't no neo-prog band which winks at Genesis and Yes all of the time. Especially those who enjoy Samla Mammas Manna, Gryphon, Camel, Magma, Mike Oldfield, Focus, Caravan or other artists with a sense of melancholy, reflection and creative individualism might at least listen to the little MP3 tasters on the Progarchives page. Highly recommendable!