Valgeir Sigurdsson - In Search of Ekvílibríum

Collaborator with major artists from diverse backgrounds, producer, founder of a record label and, finally, also the sole name behind a musical project in his own right: this is the path followed, over the span of just a few years, by Valgeir Sigurdsson, a multifaceted Icelandic artist fresh from an now well-established collaboration with Bjork and from recent production work for Bonnie “Prince” Billy (“The Letting Go“) and Cocorosie (“The Adventures Of Ghosthorse And Stillborn“). We interviewed him exclusively, the day after the release of his debut solo album, “Ekvílibríum“.

You've collaborated with many artists: Magga Stina, Steintryggur, Cocorosie, Bjork, Ben Frost, Nico Muhly - which of these did the most to stimulate your growth as an artist?

It's certainly very hard to say, but I imagine my long-standing relationship with Bjork has definitely influenced me in various ways. She has a unique attitude towards music and an always very intriguing creative process. Working with Nico Muhly is extremely stimulating, and Will Oldham manages to inspire my work in an unusual way. I could probably go on.

I've been lucky enough to work with many people I hold in high regard, and every project is a continuous learning experience.

I really appreciate the work you did on the latest Cocorosie record. Many critics argue it's the duo's most mature work yet; do you think that's partly down to your contribution?

You have to remember that Sierra and Bianca produced their first two albums at home on a four-track recorder, and since then they've toured the world and matured as songwriters and performers.

I think they asked me to take part in their record because they felt they'd outgrown their old ways of working and felt the need for a push towards a more up-to-date situation, the one that defines them now.

We did some try-outs (sessions) together, and afterwards they asked me to be involved in the whole album, so I think they felt comfortable with my method, found it respectful of their approach while at the same time able to guide them towards further developments and help them select their ideas.

Tell us a bit about Ben Frost... How did you start working with him?

I met Ben Frost in Australia during a visit and a writing conference; someone arranged for us to meet and we really hit it off. Ben came to visit me in Iceland and we tried putting together a piece of work, which turned out really well, but it's still unfinished.

He loved Iceland so much that he moved there; he's now been living here for three years.

In a meeting I had with him in Italy, Sjon told me: "My generation is very lucky because we live in a historical period that could be considered 'the golden age of Icelandic culture'" — do you agree?

I think a great advantage is the attention that has increasingly been focused on Iceland and Icelandic culture in recent years. Being involved in Icelandic art is, indeed, very stimulating. My work mainly involves collaborating with non-Icelandic artists, and I think that's a good way to expand beyond the horizons of our small society.

Let's talk about your collaboration with Bjork. Beyond the professional partnership, is there a friendship there? Have you ever had conflicts?

We've always had an easy-going working relationship and friendship, both inside and outside the recording studio. We're still friends and we appreciate each other's work.

So far you've devoted yourself to producing other artists. Can you tell us how it feels to see a record with your own name on the cover out on the market? Where did this need come from?

I've always thought of my work as an extension of being a musician, even though I'm not a great instrumentalist. I've been composing music ever since I first started playing an instrument. Over the last 10 years I've focused on collaborations and studio work and never allowed myself time for my own personal projects, until now. It's an important step forward for me.

“Ekvílibríum” resembles the Latin term meaning equilibrium…

Exactly, it's an Icelandic transcription of the word “Equilibrium”, and it points to the direction, the attempt to achieve something with this album, but generally also in life and work. It's a search that never ends.

I've listened to your record and I think it's a good piece of work. How long did it take you to make it?

Well, thanks! I wrote all the material over quite a long stretch of time, working on it in fits and starts, then I focused on it for several weeks between the end of 2006 and the first months of 2007, putting the ideas together like a puzzle.

The album can be considered mainly instrumental, which is bold for a debut. Do you think words are less functional than music?

Not exactly, I just don't think I have great singing skills, that's all.

The presence of guest vocalists on “Ekvílibríum” I think strengthens some of the musical passages, and anyway I love collaborations.

I was so pleased with the lyrics that came out of it that I couldn't have imagined a better match of words and music.

The album's lyrics were written by others. What criteria did you use to choose them?

Baby Architect wrote lyrics together with J. Walker, words and music came about simultaneously.

I had the other songs in demo form when I played them for Will Oldham and Dawn MacCarthy, they chose the ones that seemed most interesting to them and wrote lyrics for those. I chose the titles.

How does the songwriting process normally work for you?

Many times I start with a small motif as a base to build on, then I think about the structure later on. Sometimes songs can take their inspiration from playing around with sounds and structures that I start building on.

The album conveys a sense of calm to the listener. Is that incidental, or does it reflect the way you are today? Do you feel happy?

Yes, I'm very happy right now.

Is this album dedicated to someone?

Not formally, but it started to make sense to me as a project when I fell in love. The title is for her, and so is the album.

So you're in love...

Very much so. It's strange and wonderful.

This is your first outing as a solo artist. Do you think these songs will stay confined to the record, or will you also take them on the road?

I've already had the experience of playing this material live, and it was great. It happened before the production was finished, and it taught me a lot when it came to refining the album.

Being able to break the music down and rebuild it with a band was very valuable.

I've got plans for a tour in America at the moment, not yet for Europe. But I definitely want to perform live as much as possible.

An obvious question: what kind of music do you listen to?

I listen to a huge variety of music, but since my ears are constantly occupied by music, sometimes I need to switch off. A lot of the time I don't listen to anything at all, but I do want a turntable and a stack of vinyl - I don't think I react very well to the overload of music available everywhere today. iPods, mp3s and Myspace and the like take you away from the real experience of listening and wear you out in the end. Sad, but that's how it is.

Thank you! And we hope to see you in Italy soon, maybe for a live show.

I hope so too. Thank you.

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