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Let’s Dance

An oft-quoted cliché goes: “Writing about music is like dancing about architecture.” Now, dancing about architecture is clearly weird and potentially stupid, but it also sounds kind of fun. And it seems weirdly fitting when describing the music of Skátar.

Listen: The music of Skátar is like dancing about architecture. It’s weird and fun and unpredictable and potentially stupid. And it is certainly made without any regard whatsoever to anyones expectations, or perceptions.

And it is fucking great.

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Band bios will often trace the story of the band in question: So-and- so met so-and-so and they did such-and-such and then so-and-so left due to artistic differences and their friend so-and-so filled in on drums. Then so-and-so joined and the band was finally an artistic whole and thus Band X is as astonishingly astonishing as this bio claims it to be. Fill in the blanks.

This is unbelievably boring. Unless, maybe, some interesting drug- problems, heart-attacks or lawsuits are involved.We will forego that. Instead, let us count some facts about Skátar, for those of you researching potential articles (and Skátar deserve a lot of potential articles):

-Skátar were formed in 2001.

-Their (usually around six or so) members, past and present, come from a plethora of bands you’ve never heard of. And RETRON.

-Skátar released an OK demo, a great, if terrible sounding, EP, all on their own grassroots label, Grandmother’s Records

-Skátar released their début LP this summer, also on Grandmother’s Records. They funded the whole thing themselves and it is as astonishingly astonishing as anyone who listens to it repeatedly will claim it is. It’s called “The Ghost of the Bollocks to Come”

-Both album and band have been incredibly favourably received by many respected music media. Drowned in Sound, Plan B Magazine, as well as all of the Icelandic print media has given them top marks.

-You may have heard their music in many clubs and radio outlets in places such as Iceland, Scotland, England, Canada, Belgium, etc. The UK’s Xfm and BBC have both played Skátar.

-Skátar, on that note, have repeatedly turned down advances from various Icelandic and int’l record companies. Skátar believe in a strong, DIY work ethic, and they enforce it, too.

-Much like Lady Di, Skátar do not shy away from supporting venerable causes. They’ve played benefits for various support-worthy entities and missions.

-Speaking of interesting lawsuits, Skátar have indeed been on trial. They’ve always won, too. You will have to interview them for the details. Ha.

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That out of the way, let us continue dancing about the architecture of Skátar’s music:

As anyone who’s ever witnessed their live show will attest to, no other band in existance can drop your jaw at such an alarming rate and velocity. They are steadfastly entertaining, never predictable and always boiling with an intense sense of F-U-N! (unless the sound quality is off, at which point they will become amusingly annoyed and angry). Skátar have gotten a lot of praise since they started playing live shows at regular intervals, and they have earned every bit of it. In fact, if this was one of those normal band bios, you would observe a long list of embarrassingly favourable press quotes below this very text. But Skátar isn’t a normal band, so their bio will not be a normal one.

Picture driving to the country with your younger siblings (ten and twelve, respectably) and putting in a random CD out of the glove compartment. Imagine their plainly terrified faces as a hair raising attack of PUREÉD WHITE NOISE SKRONK DEATH blasts at ‘em from the car speakers.

Imagine ignoring their pleas (as a good older sibling will do), driving on, and them starting to sing along to that very album, in a manner of minutes.

This is The Ghost of the Bollocks to Come, and this is Skátar.

Let’s dance.

by Haukur S.Magnússon