Kjartan Sveinsson on Sigur Rós & solo inspiration

After 15 years with the band, Sveinsson left Sigur Rós in 2013 ‘to do something different’. That ‘something different’ has led to him primarily working with film director Rúnar Rúnarsson, producing soundtracks for his films, and the performance artist Ragnar Kjartansson. It’s whilst working with Kjartansson that Sveinsson produced Der Klang der Offenbarung des Göttlichen, which receives its UK premiere here at the Southbank Centre on 19 March courtesy of London Contemporary Orchestra.

Ahead of the LCO’s concert, which also features orchestral versions of new electronic masterpieces from Kelly Lee Owens and Duval Timothy, we caught up with Sveinsson to talk about his transition from Sigur Rós to going solo.

As a multi-instrumentalist as well as a composer, do you prefer to be performing or composing?

I am not really much of a performer although I have done quite a lot of it through the years. I don’t feel I am much of a multi-instrumentalist any more as I don’t really play instruments that much these days but when I do perform, I usually enjoy it quite a lot. I think it has more to do with playing with other people than being on stage in front of a crowd. Performing on my own in front of a crowd is a very scary thought. 
 

Across your 15 years with Sigur Rós there will be some amazing memories, but is there any one moment that stands out for you above all the others?

It’s very hard to think of that one moment. Writing all the songs and making all the albums have loads of different memories. There are a few ‘this is it’ moments, which I feel a bit awkward sharing so I think I will let that one pass.

‘Performing on my own in front of a crowd is a very scary thought

Kjartan Sveinsson

Did the global success of Sigur Rós ever surprise you?

No, not really. We were – or I, at least – so self assured or even arrogant, (this might relate to the question above) that when we were in the process of making “Ágætis Byrjun” there was this moment that we knew this would be going further than the local radio station. Then the success slowly escalated and suddenly we were in Japan or Brazil and then there might have been a little humble recognition of what was going on but when you are just over twenty and you are living your dream and you have all the confidence and arrogance available to a person, one does not really think ‘Oh, what a surprise this all is’.

Where did the inspiration for Der Klang Der Offenbarung Des Göttlichen come from?

The inspiration for the Der Klang comes from the book World Light by Halldór  Laxness. It is a book about the struggle between being an artist or a decent person. Obviously those two things don’t go together. It is a really funny and tragic book. All the text is from the book. 

‘When you are just over twenty and you are living your dream and you have all the arrogance available to a person, you don’t really think ‘Oh, what a surprise this all is’.’

Kjartan Sveinsson

Der Klang Der Offenbarung Des Göttlichen was your first solo project, what was it like to be working on your own after so many years collaborating?

There is so much difference. Working on your own is so much harder. There is no mirroring going on. Working with the Sigur Rós guys was just so easy. If we had the  time, we would write a song or two in just one evening. The recording and production  would be about experimenting, being playful and just, having fun. There is not much reflecting going on when you work on your own. Me and my partner María do help one another out sometimes or at least we can show foetus-like compositions to one other.

At the time of it’s world premiere you described Der Klang Der Offenbarung Des Göttlichen as your most ambitious musical work. Is that still the case? And what is it about the piece that sets it apart as ambitious?

I don’t think I ever said that. I think this is probably a quote from someone else. I think the piece one is working on has to be as ambitious as possible. This piece is written for the theatre originally and would have probably been very different if it was written for another occasion. Yes, there was ambition to make it work in the context it was written for and fortunately I think it works well on it’s own as well. I am always ambitious, that’s why I never release anything (unless it’s old and I don’t care anymore) but that is something I just discuss with my psychiatrist.
 

And lastly, what does it mean to you to have the London Contemporary Orchestra give your piece its UK premiere?

This is really great. I am honoured and grateful. Finally this is performed in the UK. I am really looking forward to hearing it.