múm
November 5th at the Independent, San Francisco

Once múm took the stage at the Independent, it didn’t take long before the effects of their sonic prowess could be felt. By the time they fully opened up, spread their wings, and established their gentle grasp, gravity seemed to dissipate and a warm current rolled over all of us as we bore witness to the wonders of sheer relaxation.

Though the Icelandic outfit has endured a number of lineup changes and some shifts to their sound since their formation in ’97, they proved that they remain fully capable of creating mood-enhancing music that both captivates and quells. To get there, múm—pronounced similarly to what a cow might say while gathering its thoughts (moom)—utilized a unique array of instruments and vocal combinations that were rarely the same for two consecutive songs. Melodicas—mini-keyboards blown into by the player that are rarely seen in an average set-up—were present for the entirety of the show, used by various members. Stringed instruments of just about every shape and size imaginable also dominated the field, and the two major elements formed the main base around which the other pieces flowed.

The most powerful and entrancing force at work, though, was the vocal synergy of Hildur Guðnadóttir and Sigurlaug Gísladóttir, who also played cello, viola, and ukulele. Individually, each of their voices soared high. Combined, they sounded like a pair pulled directly out of an angelic choir brought down to deliver a message to us. And as they dished out numbers primarily taken from their most recent release, Sing Along to Songs You Don’t Know, múm’s message seemed increasingly simple, based on harmony and peace and celebration of life. This was particularly evident on “Sing Along”, which playfully addressed the band’s appreciation of their listeners and their desire to “eat you with a spoon.” No doubt they keep their sense of humor in check right alongside the music, no matter how well it translates to English.

The crowd remained fairly motionless for most of the show’s duration, but “The Smell of Today Is Sweet Like Breastmilk in the Wind”, one of the only songs on the new album that retains some of their older, glitchier tendencies, stirred things up a bit. Guðnadóttir, who was active on stage throughout, started moving more vigorously for this one; the whistle blows and synth-driven hooks finally incited some mobility. Traveling back in their repertoire with an encore of “Green Grass of Tunnel”, the show reached its ultimate pinnacle, rendering the audience seemingly weightless and formless as the twinkle of the bells and reassurance of the lush voices made any possible worry in the world vanish for the time being. Temporary relief? Absolutely. But a welcomed form of relief nonetheless.

Watch: múm, “Green Grass of Tunnel” [at youtube.com]

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