The wonderful singer-songwriter, pianist and composer Kristín Anna (Kría Brekkan) performs her own music for piano and voice. Kristín recently released the album Howl to much acclaim and will later this year release another album, containing her own music for voice and piano, both albums released by Bel-Air Glamour Records, founded by visual artist Ragnar Kjartansson.
Kristín Anna is a former member of the Icelandic band múm and has as well collaborated with a large group of artists and musicians, including Animal Collective, Mice Parade, The National, Skúli Sverrisson, Ragnar Kjartansson and Hrafnhildur Arnardóttir (Shoplifter).Concert starts at 9pm. House opens at 8pm. Tickets: 2000 ISK.
Musician Benedikt Hermann Hermannsson (Benni Hemm Hemm) celebrates the release of his new poetry book on September 2nd. On that occasion Benni, along with a large group of musicians, will host three concerts at Mengi on Friday, September 2nd and Saturday, September 3rd. The poetry book, Skordýr (Ants) is in the form of an album, containing 22 brand new songs.
– Friday, September 2nd at 9pm. Benni, along with a group of musicians, whom he has never worked with before, performs songs from the new poetry book.
– Saturday, September 3rd at 3pm. Benni and Kórus (the newly formed Icelandic choir) improvise to songs from the new poetry book.
– Saturday, September 3rd at 9pm. Benni and and a group of musicians, whom he has often worked with in the past, perform the new songs.
Tickets to each concert is 2000 ISK. A festival pass, 4000 ISK, for all three events.
A night of visual performances. Performers: Brynjar Helgason, Geirþrúður Finnbogadóttir Hjörvar, Katrín Inga Jónsdóttir Hjördísardóttir, Sigurður Arent & María Dalberg. Starts at 9pm. House opens at 8pm. Tickets: 2000 ISK.
We’re honored to welcome vibraphonist Ted Piltzecker to Mengi for a concert on Wednesday, September 7th at 9pm. Will be joined by Þorgrímur Jónssson on double bass. House opens at 8pm. Tickets: 2000 ISK.
Music by Milt Jackson, Cole Porter, Dave Brubeck, Miles Davis and more.Vibraphonist/Composer Ted Piltzecker has eclectic musical interests. He has performed at jazz and percussion festivals, and in concerts throughout the United States and around the globe. (Germany, Austria, England, China, Australia, The Netherlands, Argentina, Peru, Sweden, Mexico, Canada, Japan, Finland, and Puerto Rico). His four albums as a leader have been critically acclaimed and influential in both the percussion and jazz worlds.His debut album, Destinations, climbed to number eight in national jazz airplay, and his second release, Unicycle Man on the Equilibrium label (featuring Bob Minter, Harvie S, James Williams, and Dave Meade) remained on the Gavin Jazz Chart for months. The Victory Music Review calls it “a thoughtful recording filled with tasteful flair, the product of confident mature musicians who are committed to the ensemble.” Jazz writer and critic, Nat Hentoff praised the album as “a lyrical, thoughtful, relaxing meeting of mutually appreciative improvisers whose time is timeless.” All About Jazz reports that in his solo vibraphone album, Standing Alone (a collection of standards) “fills the 43-minutes with expressive grace, maintaining interest throughout.” Muse calls it “a simultaneously technically impressive and deeply relaxing listening experience.” Steppe Forward, his latest release, has been cited as “an upbeat, joyous and uplifting album, from beginning to end” by All About Jazz, and “a nice voyage into what good jazz is all about in contemporary times” by the Jazz Review.
Ted has performed with many of the great names in jazz in New York (guitarists Gene Burtoncini and Vic Juris, bassists Rufus Reid and Todd Coolman, drummers Lewis Nash, Dennis Mackrel, and Clarence Penn, pianists Jim McNeeley, John Hicks, and Bill Charlap, and with saxophonists Chris Potter and Javon Jackson), and while directing the jazz program at the Aspen Music Festival (Jimmy Heath, Joe Williams, Clark Terry, Mel Torme, Ernie Watts, Hubert Laws, Slide Hampton, Toshiko Akiyoshi, and many more). He has toured internationally as a member of the famed George Shearing Quintet, and has led many of his own unique ensembles including Pendulum, a duo with Canadian pianist Jim Hodgkinson, Ted’s eclectic musical interests have also included tours with the Kenny Endo Taiko Ensemble, TV spots with the Nitty Gritty Dirt Band’s John McEuen, appearances at the Cathedral of St. John the Divine in New York with organist Dorothy Papadakos, and chamber music concerts with classical cellists, Yehuda Hanani and Julia Lichten, violinists, Ruben Gonzales and Calvin Wiersma, clarinetists Ayako Oshima and Dick Waller, harpists Nancy Allen and Emily Mitchell, bandoneónist, Hector Del Curto, and gadulka player (Bulgarian violin) Nikolay Kolev.
Ted Piltzecker has received awards from the National Endowment for the Arts, the New York State Council on the Arts, the New Jersey State Council on the Arts, The Lincoln Center Institute, and the ASCAP Foundation. His works have been aired on National Public Radio’s “Performance Today” and the Canadian Broadcasting Company’s “Arts National” and have been performed by the Philadelphia Orchestra Chamber Ensemble at the Kimmel Center for the Performing Arts. As a guest of the People’s Republic of China, he premiered new works for percussion at the Conservatories in Beijing and Wuhan in the summer of 2013. In the summer of 2014 he premiered two new works, one for wind ensemble and one for jazz band at the Conservatório de Tatuí in Brazil. He is an associate professor of music composition at the Purchase Conservatory of Music, State University of New York and also teaches vibraphone at the Hartt School in Connecticut.
Ted is a graduate of the Eastman and Manhattan Schools of Music. He is an active pilot and unicyclist who performs using Musser vibraphones and Mike Balter mallets exclusively.
A concert with Gyða Valtýsdóttir. Starts at 9pm. House opens at 8pm. Tickets: 2000 ISK.
Gyða Valtýsdóttir is a polychromatic performer, trained and untamed classically. She started in her early teens as one of the founding members of the dream-pop group múm but left the band to pursue her studies. She found her way through the labyrinth of higher education, double mastering from Hochschule für Musik, Basel, where her main teachers were Thomas Demenga and Walter Fähndrich. She moves vividly between music realms, composing, performing and recording with various musician & artists such as Shahzad Ismaily, Josephine Foster, Julian Sartorius, Colin Stetson, múm, A Winged Victory for the Sullen, Efterklang, Guy Maddin, Ragnar Kjartansson, Damien Rice and many others.
Solo concert with Katie Buckley.
Starts at 9pm. House opens at 8pm.
Tickets: 2000 ISK
In a Landscape (1948)
Becoming Autumn (2002)
-Ryan Ross Smith
Study no. 53 (2016)
From “Music for Harp”
Music for Bill and Me (1966-67)
Beverly’s Troubadour Piece (1967)
“This concert of solo harp music is all about connections. All of the music is connected to each other in some special way. John Cage, Lou Harrison, Ryan Ross Smith, and Bergún Snæbjörnsdóttir all have been at Mills College in Oakland, California either as students or teachers. Caleb Burhans wrote “Becoming Autumn” after feeling a great connection with John Cage’s “In a Landscape.” Also, I am lucky enough to know and have worked with Bergrún, Ryan, and Caleb as well as being married to Jesper Pedersen.” (KB)
Katie Buckley began studying harp at the age of 8 in Atlanta, Georgia and continued her studies in San Francisco with former San Francisco Symphony and Opera harpist Ann Adams. Katie received her Bachelor of Music degree and Master of Music degree as well as a Performer’s Certificate at Eastman School of Music with Kathleen Bride. In 2006, she became principal harpist with the Iceland Symphony Orchestra. Katie is a founding member of the ensemble Duo Harpverk. Duo Harpverk is a harp and percussion duo with percussionist Frank Aarnink. The Duo has released two CDs, The Greenhouse Sessions and Offshoots, and performs around Iceland and has embarked on several international tours. In addition to Duo Harpverk and her position in the Iceland Symphony Orchestra, Katie also performs as a soloist and chamber musician throughout Iceland and the United States.
Ólöf Arnalds gives one of her intimate concerts at Mengi on Saturday, September 10th at 9 pm. Will be joined by Skúli Sverrisson.
House opens at 8 pm. Tickets: 2000 ISK
Ólöf Arnalds has been active within the Icelandic music scene since the early 2000s. She was a touring member of múm for five years from 2003 before launching her solo career and has released four albums to date. She has collaborated with bands and artists such as Björk, Stórsveit Nix Noltes, Mugison, Slowblow and Skúli Sverrisson.
In 2007, her debut album Við Og Við was released by 12 Tónar. The album features a set of songs performed mostly in a traditional troubadour style. The success of Við og Við in the US led to Ólöf touring with Blonde Redhead, Jonathan Richman, Björk, The Dirty Projectors and Jeff Mangum.
Her second album, Innundir skinni, was released by One Little Indian Records in September 2010. The album was produced by then Sigur Ros member Kjartan Sveinsson and Davíð Þór Jónsson, and featured contributions from Björk, Skúli Sverrisson, Shahzad Ismaily, María Huld Markan Sigfúsdóttir and Ragnar Kjartansson.
Her third album is Sudden Elevation and was released (again by One Little Indian Records) in February 2013. It her first album sung entirely in English. Produced again by long-time collaborator, Skúli Sverrisson, Sudden Elevation was largely recorded in a late autumn 2011 stint in a seaside cabin in Hvalfjörður, western Iceland.
Her fourth album, Palme, was released (by One Little Indian) in 2014 with contributions from Gunnar Örn Tynes (múm) and Skúli Sverrisson.
Ólöf Arnalds fifth album is due in 2017.
A concert with Chris Speed and Skúli Sverrisson on Tuesday, September 13th at 9 pm. House opens at 8 pm. Tickets: 2000 ISK. Joined by Arnljótur Sigurðsson, Eiríkur Orri Ólafsson and Ólafur Björn Ólafsson.
Chris Speed is a composer, clarinetist and saxophonist…
– and is “one of the principal figures in a dynamic left-of-center jazz/improv scene in the city” (NYTimes). His own bands include Endangered Blood, Human Feel, yeah NO, Trio Iffy, Pachora and The Clarinets. He is a founding member of Jim Black’s Alas No Axis and John Hollenbeck’s Claudia Quintet (two of the most influential working bands today), works with Uri Caine (deconstructing works by Mahler, Mozart, Bach, Schoenberg, Gershwin) and maintains a busy career of touring, recording, performing, composing, practicing and teaching. Current projects include work with Craig Taborn’s Heroic Frenzies, Michael Formanek’s Ensemble Kolossus, Dave King’s Trucking Co., Matt Mitchell Quartet, Mary Halvorson’s Reverse Blue, Banda de los Muertos (NYC’s only Banda band), as well as touring his latest project, Endangered Blood (with Black, Trevor Dunn and Oscar Noriega) which was featured on NPR’s Tiny Desk Concerts in 2012. (Endangered Blood 2010, Work Your Magic 2013 Skirl). “Speed’s Endangered Blood originals stand out as his most melodically generous, accessible and warm batch of compositions he’s yet to produce.” -DownBeat ****
Born in 1967, Speed grew up in the Seattle area where he met future colleagues Jim Black and Andrew D’Angelo, all of whom ended up in Boston in the late 80’s where they formed Human Feel with guitarist Kurt Rosenwinkel. (Scatter 1992, Welcome to Malpesta 1994, Speak To It 1996, Galore 2007). While in Boston he studied at New England Conservatory and graduated in 1990. By 1992, after a short tour with the Artie Shaw Band (led by Dick Johnson), Speed moved to New York City where he started working with Tim Berne’s (now legendary touring band) Bloodcount. (Unwound 1996, Discretion 1997, Saturation Point 1997, The Seconds 2006).
Throughout the nineties his formidable improvisational approach on both tenor saxophone and clarinet contributed to other pioneering NYC bands including the Dave Douglas Sextet (Witness, Soul on Soul, Sanctuary, Stargazer, In Our Lifetime), Myra Melford’s Same River Twice (Above Blue, Where the Two Worlds Touch) John Zorn (Bar Kokhba, Trembling Before G-d) and Mark Dresser’s trio with Anthony Coleman.
As a member of Pachora (with Black, bassist Skuli Sverrisson, and guitarist Brad Shepik) Speed became known as one the leading NYC musicians adapting the odd time signatures and melodies of Balkan music into jazz-based music. Pachora was formed in 1992 to play music from Bulgaria, Greece, Macedonia, and Turkey, and evolved into an original music ensemble that toured North America and Europe extensively. (Astereotypical 2003, Ast 2000, Unn 1999, and Pachora 1997. His fluency with East European folk music is also documented with the more traditional Slavic Soul Party, which he was member of from 1996-2004. In addition to touring America, they spent 2 weeks in Macedonia with Rom musicians and recorded “In Makedonija” (Knitting Factory Records) at an underground radio station in Skopje.
His critically acclaimed improvisational trio The Clarinets (with Oscar Noriega and Anthony Burr and featured on NPR’s Fresh Air) explores the possibilities of the clarinet (multi-pitch tones, timbre deviation) in the context of group improvisation. This group blurs the boundary between composed chamber music and experimental improvisation and creates an acoustic ambient music of unusual grace and beauty. (The Clarinets 2006, Keep On Going Like This 2012)
Speed formed the band yeah NO in 1996 as an experiment in decoding and scoring out improvisations which inspired an unusual book of music that also fused elements of free jazz, modern rock, eastern folk and minimalism. After the debut record in 1997, they thrived in the center of new music in NYC, performing frequently at the previous Knitting Factory(s) and (the since closed) Tonic. They toured the States and Europe and have four recordings. (yeah NO 1996, Deviantics 1998, Emit 2000, Swell Henry 2004)
Speed was named the rising star clarinetist in Downbeat magazine for 2004, 2005 and 2006, was the recipient of a NEA composition grant in 1993, and in 2004 was the guest soloist at the Copenhagen International Jazz Festival working with over 10 different cutting edge Danish bands.
In April 2006, he launched Skirl Records, a label dedicated to Brooklyn based creative music, now with 31 releases. “As a document of the fertile Brooklyn scene, Skirl has few equals, skirting the boundaries between jazz, rock, electronic, classical and improvised music.” AllAboutJazz.Concert starts at 9pm. House opens at 8pm. Tickets: 2000 ISK
A night of improv at Mengi with Aistair Donald, electronics, Anto Pett, pianist, Anne Liis Poll, singer, Liis Viira, harpist, Sigurður Halldórsson, cellist and Kjartan Valdemarsson on piano.
Starts at 9pm. House opens at 8pm. Tickets: 2000 ISK
An exciting improv concert with Daníel Friðrik Böðvarsson on guitar, Skúli Sverrisson on bass and Max Andrzejewski on drums
Concert starts at 9pm. House opens at 8pm. Tickets: 2000 ISK.
Daníel Friðrik Böðvarsson–
is a guitarist, songwriter and singer;
He plays in bands including Moses Hightower and Pranke.
He has lived in Berlin during the past 5 years and works on music where improvisation and creativity are primordial.
Max Andrzejewski is a 30 year old drummer and composer.
His energetic musical work between jazz, rock, improvised music and contemporary composition brings him all over Germany and the world, and appears on numerous albums on Traumton, Act, Pirouet, Wizmar, Unit, Jazzhaus, NWog, Whyplayjazz. He studied drums at MHS Cologne and JIB Berlin. His own band HÜTTE won one of the biggest German Jazz Prices, the Neuer Deutscher Jazzpreis 2013, and on top of it, Max also won the Soloist Price.
His other main projects are the bands Expressway Sketches und PRANKE. Max is composer for theatre. He composes for Thalia Theater Hamburg, Maxim Gorki Theater Berlin, Schauspiel Frankfurt, Staatstheater Kassel.
Max was on tour in Aserbaijan, Israel, Russia, Cuba, USA, Czech, Portugal, Italy, Netherlands, Egypt, Austria, Serbia, Switzerland, Poland, Qatar, Iceland.
He was recorded by WDR, BR and RBB. In 2010 he won the competition „Convento Jazzpreis“.
Kira Kira is a composer and audio/visual artist. As a founding member of Kitchen Motors, a mischievous label and collective based on experiments in electronic music and arts run in collaboration with Johann Johannson and Hilmar Jensson, she continually breaks boundaries between forms and genres through a repertoire that includes compositions for theatre, film, dance and art installations – as well as playful multi-disciplinary productions that exceed her work as merely a composer. Kira Kira sprang from this collective and to this day works with Kitchen Motors’ ethos at heart -a spirit of playfulness, exploring the relationship between experimental music, film and visual arts, collaborating with a plethora of various artists.
Kira Kira has 3 albums to her name, the most recent full length being Feathermagnetik on Berlin based label Morr Music.
Magnús Trygvason Eliaassen on drums and percussion. Sölvi Kolbeinsson on saxophones. A musical journey around jazz standards, original compositions and free improv with two of the most exciting musicians in Iceland at the moment. Concert starts at 9pm. House opens at 8pm. Tickets: 2000 ISK
Concert with violinists Aisha Orazbayeva and Una Sveinbjarnardóttir.
Starts at 9pm. House opens at 8pm.
Tickets: 2000 ISK
-Salvatore Sciarrino 6 Caprices for violin solo, (1976)
-Luigi Nono “Hay que caminar” soñando for two violins, (1989)
-G.P. Telemann 6 Fantasias for violin solo, 1735
Aisha Orazbayeva presents her latest album Telemann Fantasias performed using modern violin techniques alongside works by Salvatore Sciarrino and Luigi Nono.
Georg Phillip Telemann (1681-1767)
6 fantasias for violin solo
‘Six of the twelve violin fantasias by German composer Georg Phillip Telemann, published in 1735. The performances range from personal and stylistic interpretations to versions marked by the distortion and fragmentation of the material through the use of contemporary violin techniques. The variety of extreme colours, sounds and tones illuminates the polyphonic character and phrasing of the music, while also adding unfamiliar and distant qualities. This approach to interpreting old repertoire reflects my work in improvisation and as a performer of new and experimental music.’ (AO)
Luigi Nono (1924-1990)
“Hay que caminar” soñando for two violins
‘ “Caminante no hay caminos hay que caminar” (“travellers there are no paths, there is travelling”) – an inscription on the wall in a monastery in Toledo. The inscription inspired Luigi Nono’s late works which include “La Lontananza Nostalgica Utopica Futura” for violin and 8 magnetic tapes written for Gidon Kremer and “Hay Che Caminar” sonando for 2 violins written for Irvine Arditti and David Alberman. In both pieces performers wander across the room from one music stand to another, like stations on their journey.
To me both works explore the violin sound in a different and unexpected way – the shades of quietness and inaudibilty, sounds that merge into silence, never static and always moving.
It’s a journey through different states and sounds, a journey searching for the sound. It’s a piece at the end of a century, at the end of a life where one is looking back to the very beginning, but imagining and thinking of the future at the same time. “Hay que caminar” sonando was Luigi Nono’s last work, he died in Venice on 8th of May 1990.’ AO)
Salvatore Sciarrino (1947)
6 caprices for violin solo
‘Salvatore Sciarrino wrote his Six Caprices for Salvatore Accardo. Accardo premiered the Six Caprices on August 27 1976 in the medieval Tuscan city of Siena. The violin had never sounded like that before. They are elusive, secretive pieces and sometimes pitched so high they can surpass human hearing. Sciarrino uses violin harmonics as a tool to create the perfect illusion – we see violin but we hear birds, flutes and wind passing through an old Tuscan castle. Trying to learn these pieces for the first time was like learning a new language. I had thought they were like Paganini caprices, but for a modern violin that only half-speaks. As Paganini caprices explored every aspect of the violin technique of their time, Sciarrino caprices explore the violin techniques of the 20th century, yet Sciarrino dresses them in traditional forms, with simple metres and rhythm.’ (AO)
Screening of When It Was Blue by Jennifer Reeves with live performance of the original soundtrack by Skúli Sverrisson, composer and bass-player.
Premiered at Toronto International Film Festival in 2008.
Duration 65-68 minutes.
Starts at 9pm. House opens at 8pm.
Tickets: 2000 ISK
WHEN IT WAS BLUE rejoices the splendor of nature as the camera eye traverses land and sea in a montage of diverse ecosystems from the Americas to Iceland and New Zealand. Colorful organic textures and forms, inspired by qualities of the natural world, were created through an array of direct-on-film techniques. This abstract imagery is superimposed upon nature cinematography through double-projection, creating depth and merging the powerful intricacies of the natural world with an artist’s reverence for it all. Anxiety and loss are evoked as the camera hurries to “capture” the natural world on film before it vanishes.
2009 Ann Arbor Film Festival Audience Award.
Jennifer Reeves (b. 1971, Sri Lanka) is a New York-based filmmaker working primarily on 16mm film. Reeves was named one of the “Best 50 Filmmakers Under 50” in the film journal Cinema Scope in the spring of 2012. Her films have shown extensively, from the Berlin, New York, Vancouver, London, Sundance, and Hong Kong Film Festivals to many Microcinemas in the US and Canada, the Robert Flaherty Seminar, and the Museum of Modern Art. Full multiple-screening retrospectives of her work have been held in recent years at Era New Horizons Film Festival in Wroclaw, Poland, Kino Arsenal in Berlin, Anthology Film Archives in New York, and San Francisco Cinematheque.
Reeves has made experimental films since 1990. She does her own writing, cinematography, editing, and sound design. Her subjective and personal films push the boundaries of film through optical-printing and direct-on-film techniques. Reeves has consistently explored themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife, and politics from many different angles.
Since 2003 Reeves has collaborated with some of the finest composer/ musicians today, including Anthony Burr, Skúli Sverrisson, Elliott Sharp, Zeena Parkins, Marc Ribot, Erik Hoversten, Pitt Reeves, Hilmar Jensson, and Dave Cerf. As the daughter of a trumpeter, gravitating toward film and music collaborations was quite natural for Reeves. Her most ambitious film and music performance, the feature-length double-projection WHEN IT WAS BLUE (2008), premiered at Toronto International Film Festival with live music by composer/collaborator Skúli Sverrisson.
Reeves has also made a number of experimental narratives, most notably her highly acclaimed feature THE TIME WE KILLED. The Village Voice Film Critic’s poll (2005) honored THE TIME WE KILLED with votes from six film critics for categories including: Best Film, Best Cinematography, and Best Performance.
Currently, her 2014 film COLOR NEUTRAL has been making the rounds of the international film circuit. A new collaboration with Composer/Performer Marc Ribot premiered at (Le) Poisson Rouge in New York in August 2015. Ribot and Ikue Mori perform a live score to Reeves’ SHADOWS CHOOSE THEIR HORRORS, LANDFILL 16, and HE WALKED AWAY. Marc Ribot performed his original score to the program of Reeves’ films at DIA: DETROIT for their Day of the Dead Celebration in 2015.
Reeves is presently working on a new film for which she has been awarded the 2016 Princess Grace Awards Special Project grant.
Over the past two decades, bass guitarist-composer Skuli Sverrisson has worked with a veritable who’s who of the experimental world, from free jazz legends (Wadada Leo Smith, Derek Bailey) to music icons (Lou Reed, Jon Hassel, David Sylvian, Arto Lindsey) and composers (Ryuichi Sakamoto, Johann Johannsson and Hildur Gudnadottir). Sverrisson is also known for his work as an artistic director for Olöf Arnalds (Innundir Skinni, Vid og Vid), recordings with Blonde Redhead and as a musical director for legendary performance artist Laurie Anderson. He has released a series of duo albums in collaboration with artists such as Anthony Burr, Óskar Guðjónsson and Hilmar Jensson. He has been a member of many influential groups, including Pachora, Alas No Axis, The Allan Holdsworth group and The Ben Monder group.
Sverrisson has also composed music for The Icelandic Dance Company (Open Source), the National Theatre of Iceland (Volva) and numerous films and installations such as Welcome and Music for furniture with Olafur Thordason, Spatial Meditation with Claudia Hill and When it was Blue with experimental film maker Jennifer Reeves. Sverrisson founded Seria, an ongoing ensemble featuring Amedeo Pace (Blonde Redhead), Ólöf Arnalds, Davíð Þór Jónsson, Anthony Burr, Eyvind Kang and Hildur Guðnadottir in 2005 and released Seria in 2006 and Seria ll in 2010.
He has appeared on over 100 recordings and has performed around the world with a wide range of artists. Three new recordings of the ongoing collaboration with Anthony Burr and a new duo recording with Oskar Gudjonsson. Sverrisson has been awarded 5 Icelandic Music Awards, including Icelandic Album of the Year for Seria in 2006.
He has worked with numerous musicians and groups, including Hildur Guðnadóttir, Hilmar Jensson, Jim Black, Chris Speed, Anthony Burr, Laurie Anderson, Allan Holdsworth, Ryuichi Sakamoto, David Sylvian, Blonde Redhead, Yungchen Lhamo, Jamshied Sharifi, Ólöf Arnalds, Pachora, and Alas No Axis. He was a part of Mo Boma with Jamshied Sharifi and Carsten Tiedemann, releasing 4 albums on Extreme; “Jijimuge”, “Myths of the Near Future – Part One”, “Myths of the Near Future – Part Two” and “Myths of the Near Future – Part Three”.
Sverrisson also plays dobro, acoustic bass guitar, and charango, in addition to electric bass. He is the artistic director of Mengi.Starts at 9pm. House opens at 8pm. Tickets: 2000 ISK
Starts at 9pm. House opens at 8pm. Tickets: 2000 ISK.