Photos courtesy of Gilo
As a venue, the Norwegian Church in Cardiff Bay has few competitors in terms of its intimacy and charm.
Staunchly looking out over the glittering waters of the bay, its white structure is a lone beacon in the gloom of the night, offering a welcome shelter from the bitter wind.
The modest, virtuous structure played host to a gig which would never have had the same atmosphere if it had been held anywhere else: this was truly a case of the surroundings complementing the music perfectly.
Reykjavík-based Hjaltalín are chart-toppers back home in Iceland and produce beautiful, stirring music that could easily be mentioned in the same breath as Grizzly Bear. Without wanting to put a crude, Scandinavian spin on this, the Norwegian Church seems to be the most aptly-picked of venues for their Welsh debut.
*****
But first up were Newbury nu-folk quartet Dry the River.
“Soaring” has become a clichéd reviewphemism for particularly scintillating harmonies, but it really does best describe the collective vocals that are their trademark.
Singer Peter Liddle’s voice evokes the haunting vulnerability of Jeff Buckley in songs that, through their simplistic arrangements, are perfectly designed to showcase the fragile harmonies of Liddle, guitarist Matthew and bassist Scott.
Songs like Demons and Night Owls drew upon the folk heritage of either side of the Atlantic which lulled the audience, most of whom were sat on the wooden floor, into a blissful reverie.
This minimalist template was rarely broken by the odd more powerful burst, and finally by the (relatively) tumultuous Weights and Measures, which closed their six-song set.
Now the blissed-out folk of Fleet Foxes and Mumford and Sons et al is making steady inroads onto the mainstream, Dry the River have both the songsmithery and vocal prowess to get noticed, and when they get their chance they should fully deserve it.
↓ Dry the River play Weights and Measures at the Norwegian church
*****
I’ve heard Hjaltalín mentioned in the same breath as Sigur Rós, but in truth they are far more similar to Arcade Fire. Instead of icy soundscapes, their songs carry a raft of different inflections, such as Icelandic folk, gospel and chamber pop, but with a playful edge.
Their music’s main strength is its reliance on the full range of the band’s instruments: featuring a bassoon and violin as well as the usual suspects, they create a well-constructed collage of sounds that runs the whole gamut of emotions. Melancholy to euphoria and all the way back again, it’s all there and performed with gusto and soul.
While Hjaltalín’s two biggest songs – Traffic Music and Stay by You – are both beautifully rendered pop nuggets crowned by jubilant choruses, there is so much more to their sound.
While they are sometimes prone to orchestral sweeps, they are just as likely to go for beautiful understatement, and then a bit of jaunty folk for good measure. Their inability to rigidly stick to one sound is their greatest asset: songs such as Trailer Music for Rafskinna or the tender The Tree’s Don’t Like the Smoke showcase the huge range of styles they have absorbed.
Blonde singer/guitarist Axel and vocalist Sigga swap and share the vocal leads throughout, adding a soulful element to the ensemble’s sweep, and injecting some charm into the proceedings.
If the band do fall down anywhere, it’s on an ode to a topless British chef and, um, Frosty Jack’s. Despite being as musically adept as the rest of their catalogue, the lyrics of “kosher cider” and “Frosty Jack’s….” take away from the sweeping beauty of the music. Although it did make me laugh quite a bit.
But that’s a small, small gripe in a set that was a true joy to behold. Hjaltalín make music that is so gorgeously, unashamedly beautiful that it surely can’t be that long before people outside of their volcanic homeland start to notice.
↓ Hjaltalín play Traffic Music at the Norwegian Church
*****
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