Kaktus Einarsson - Early Magic from Reykjavík

We meet the Icelandic musician, active as frontman of post-punk band Fufanu and making his solo debut with “Kick The Ladder“, an album produced between Reykjavik and New York in collaboration with Swiss electronic composer Kurt Uenala, aka Nyll & Void (Depeche Mode, The Kills, Moby, Black Rebel Motorcycle Club, just to name a few). An early talent, Einarsson began playing electronic instruments at the age of ten, specifically within the Ghostdigital collective. With his band, Fufanu, he has opened for Radiohead and Red Hot Chili Peppers in his hometown,  Blur at Hyde Park, as well as appearing on the bills of major festivals, including Primavera Sound, Rock Werchter, Musilac and Down The Rabbit Hole. A multifaceted musician, whose crooner style is as refined as it is intimately delicate. Einarsson opens up, sharing precious memories such as his studio experience alongside Damon Albarn, essential albums, and an absolute love for our country and its most refined composers.

First of all, how did the collaboration with Kurt Uenala come about?

Kurt and I have known each other for many years through our mutual friend Sexy Lazer, but we weren't close or anything like that. About three years ago, I went to New York to play a live show and Kurt came along. So we hung out together. We talked a lot about ideal gear setups, and eventually I started sending Kurt some of the demos I was working on, looking for all kinds of advice. In a very natural way, those chats turned into our collaboration on this record. He's an extraordinary partner, and every day I realize more and more how lucky I've been - and still am - to have forged that friendship.

“Kick The Ladder” was born around the concept of how society relates to everything around it, both on a global and a personal level. So, what scares you the most today on a personal level, and what on a global level?

Really, it's about my relationship with the outside world, with the people around me, but also with things and with nature. I don't like living in fear. So I just hope we learn to be good to each other and respect one another, preserving our planet for future generations.

“Hypnotized” deals with the theme of immigration, a very current issue in Italy given the tragedies we sadly witness so often in the Mediterranean. How did this song come about, and what's your take on how Europe - and your own country - are handling this problem?

This track is mostly about children in our society and their purity, what they think and what's right and wrong. We adults tend to take more refuge in what we call the “grey area,” doing things halfway but still going on living life as if we were in a dream. Children, on the other hand, have a certain clarity in the way they look at the world, an inclination we adults may have lost, so it's good to reflect and even simplify things, rather than worrying about how the system - whatever it is - works.

“Oceans Heart” and “Story Of Charms” tell of your dreams and everyday life in different ways. But above all, of adulthood. So, what advice would you give to young people approaching music?

I wrote “Ocean's Heart” when I was in New York. Because of jet lag I slept a lot. So I dreamed of a girl running with a kite in a port city. I had just gotten the news that I was becoming a father, and as a result I formed a strong bond with that dream, which for me means letting our inner child run free and nurturing the imagination we had as kids. The advice I'd give a young musician is to be honest with themselves and not let technique or expectations limit their creativity.

You've had the honor of playing opening slots for Radiohead and the Red Hot Chili Peppers in your hometown, as well as opening for Blur at Hyde Park and performing at major festivals including Primavera Sound. Could you share an anecdote or two from these different experiences?

I have to say I usually focus more on the people I'm playing for than on the band I'm sharing the stage with. Playing alongside big names or in big venues means nothing unless the crowd is receptive. I've been lucky enough to experience both situations, so I know that difference well - and to me it's a very formative and important one.

When and how did you start composing music?

Just as a joke when I was very young - my first proper band goes back to primary school - but professionally around age 16, as a member of Fufanu.

A top five of your favorite albums.

That's really a tough question. Maybe the list would go something like this:

“Fufanu – Sport”. Fufanu's second album, but the first one where we knew exactly what we were doing. An important milestone for me.

“Damon Albarn – Everyday Robots”. Damon brought me in as assistant engineer while recording the album. It became one of the most important moments of my career and shaped me as an artist. Getting to be so involved and so close to the work of a master like Damon doesn't happen every day.

“Outkast – Atliens”. My first memories of this record go back to when I was about seven years old. I was blown away by the sounds and the flow. I never understood any of it, but the music spoke to me a great deal back then, and it still does today.

“Ghostigital – In Cod We Trust”. This was the first band I ever played with, and this is their second album. When it came out I was 14, and being part of a live band for the first time at that age is a powerful feeling that never really leaves you. It's also an album that was ahead of its time, bold and even a bit vicious.

And the last one? Which one could I pick? Any suggestions? (laughs, ed.) All right, maybe “Shampoo” by Hairdoctor: 101% indie-rock from Reykjavík.

How did the collaboration with Thibault Gomez come about?

I was looking for musicians who might have a broader technical background, and that's how I found Thibault. Not only can he play brilliantly, but he's also a master of the prepared piano. So I immediately stopped looking for other musicians and decided to work only with him. His prepared piano is one of the main flavors of the album.

Suppose you run into a friend you haven't seen in a long time, who doesn't know you've become a musician. They ask to hear one of your songs. Which one would you play to introduce them to your music?

“Kick The Ladder” o “Sports”.

Have you ever been to Italy? Do you like Italian music?

I love Italy, I've been to several cities and they all amazed me. What's wrong with Italian music? I mean, it doesn't just have classics like Vivaldi and Monteverdi, it also has Luciano Berio and Franco Donatoni. The list really is long.

Plans for the future?

I don't know. Well, maybe coming back to Italy! (laughs, ed.)

Ride the wave of great music

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