Ailbhe Malone talks with Hildur Ársælsdóttir from Amiina about Playing by the Rules, Instrument-Swopping and Sigur Ros

‘I think a lot of normal stuff influences us, like food and textures of things, and handcraft, stuff like that.’ No matter how Eyebrowy deem to classify Sigur Ros, ‘pretentious’ is not a word one could ever use in conjunction with Amiina. The group, comprising of Hildur Ársælsdóttir, Edda Rún Ólafsdóttir, Maria Huld Markan Sigfúsdóttir, and Sólrún Sumarliðadóttir , originally worked as a classical string quartet before recording with Sigur Ros (on () and Takk) and finally releasing their first solo album Kurr in 2007. The quartet’s classical background is apparent, a fact which Hildur readily acknowledges- ‘Classical music- our education- has influenced us a lot. That’s the pillar, if you can say so. That’s where we come from, that’s a really big part.’ Whilst they embrace their classical training, they admit that, as a style, it is too constrictive-‘We come from a classical background where, you know, you’re not supposed to decide a lot of stuff for yourself, you’re supposed to play by the rules. When we met the guys (Sigur Ros) we started doing more creative work and we just found it fascinating.’

Though Amiina are quick to stress that they are a separate group, and not a side project of Sigur Ros, the effect that Sigur Ros has had on them is undeniable. Hildur speaks about the group as if she was a 16 year old girl describing her first boyfriend- ‘When we started working with them we realised that you can do whatever you want, that there are no rules.’ It would appear that ever since then, Amiina have been doing whatever they want. Their music mimics that of Sigur Ros in that it has no lyrics-. ‘It’s much more natural for us to write songs without lyrics, because of our background. We’re so used to inter-weaving melodies and that kind of focus on nuances and sound rather than lyrics. I think all of us kind of, when we listen to music, we don’t listen to the lyrics and remember them. We listen a lot more to other stuff, other factors in the music. So, it was something we didn’t even think about, it was just so natural for us to do instrumental music.’- but it has more drive, and an inherent sense of fun that their fellow Icelanders lack.

In keeping with their organic ethos, Hildur explains that- ‘when we create the song, we’re not really thinking of how to perform it live, so we use whatever instrument we want, not really thinking about it in practical terms. So when we then do live versions, arrangements, sometimes we have to sit down and discuss how we’re going to do it, practically. We would really love to have more hands than eight, but we don’t, so we have to figure out a way to make things work. It’s kind of our choreography.’ Watching Amiina perform is a singularly serene experience. It is clear Amiina are at ease in their current musical territory, during concerts they glide around the stage whilst swapping instruments at a ferocious pace- sometimes mid-song. . The group members dress similarly in long, pretty dresses and they alternately bop, sway and nod to the music as they play. Alarmingly self-contained, even when playing more upbeat tracks such as ‘ammaelis’, Amiina act like they’re all in on a big exciting secret- which they might, just might, let the audience in on. Hildur giggles that- ‘We like cosy little festivals. We’re not really fans of the big festivals with all the loud drunk people rolling around. We’re more into cosy indoor things.’ They shun projections and showy visuals, stating that – ‘We think there are so many details happening during the show, just in the performance. At the moment, we think that may be enough to look at. I think that’s what at least some people like about us, that there’s always something to watch.’

Quietly, Amiina are still building up their musical artillery – ‘We REALLY want to learn to play the Theremin. We have one and we’re trying to practise, but it’s hard to learn. That’s one of the instruments that we’ve been dreaming about for a long time. I’d also like to learn to play the clarinet, that’s a really fascinating instrument.’ Every member of the group is a multi-instrumentalist, and their list of instruments ranges from Viola, to Glassophone, to Musical Saw. The latter instrument shines on ‘Rugla’, transforming the melody from prosaic to hypnotic. Further on in the album, ‘Hilli’ swings gently by, allowing for Japanese influences, whistling, and ethereal vocals to happily co-exist within a waltz tempo. Lead single ‘Seoul’ showcases a Gideon Harp and Service Bells duet over the shadow of a Korg drumline. Amiina’s musical fearlessness seems to stem from, finally, being able to do exactly what they want to do. Hildur agrees-‘We always had it in the back of our heads this idea of doing something together that was our own thing, and we didn’t really have the time to do it until a few years ago-’, before mischievously adding that- ‘It’s much more fun making stuff up on your own than doing what people tell you to do.’

Ailbhe Malone is 21 years old. Her father told her the other day that she was 'going to change the world'. She remains sceptical.
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