Six full years after bombarding the world with their second album; the teutonic and brilliantly chaotic In Cod We Trust, Ghostigital are well and truly back. Comprised of “art of noise” blood brothers, Einar Örn and Curver Thoroddsen, the time has been well spent in various sonically challenging projects but first and foremost recording their third album, Division of Culture & Tourism. Here, the dynamic duo take their genre-bending, visionary noise-maelstrom to yet another level, assisted by a potpourri of “cultural tourists” including rappers (Dälek, Sensational), guitar gods (King Buzzo from noise-rock crunchers Melvins), art punks (David Byrne of Talking Heads fame, Alan Vega from seminal 70’s band Suicide) an alt-rock sideman extraordinaire (Nick Zinner from The Yeah Yeah Yeahs) and a brit pop maestro (Damon Albarn). To top this of, the legendary Icelandic experimental/noise group Stilluppsteypa opens the album with their own tune, especially written for Ghostigital. The album was recorded in various states in the USA and in B109 in Reykjavik. It was mixed in New Jersey by Alap Momin (Dälek),
Besides being a musical doctor of all things odd, (since The Sugarcubes), Ghostigital front man Einar Örn has a day job as a Reykjavik city councillor which informs the title of their third album, Division of Culture and Tourism. Or not. On this release, he sings as if country-western music legend Bob Wills returned as a hellish punk wailer and began co-fronting industrial band Throbbing Gristle.
Aforementioned like minded confrontationalists like David Byrne are along for the ride, finding themselves happily stranded in various aurally challenging situations (like when Byrne and Einar take on a nerd battle in the beautifully, yet surrealistically, flowing “Dreamland”. Byrne sings about the Dreamland and Einar snaps back: “Spaceland!”).
Einar Örn and his producer partner Curver weave a sonic fabric that feels familiar while at the same time being part of today’s experimental industrial avant-garde. Ghostigital throws the mix forward, hoping the medicinal sonic soup will heal the listener from boredom and apathy, or at least make them boogie. And if things pan out well, make them comfortable with their inner oddball.
…craving pure musical impurity, that’s what it’s all about really…