Ingénieur du son et compositeur, Valgeir est le fondateur du label Bedroom Community et des Studios Greenhouse situés en Islande, où Björk a enregistré en partie Selmasongs, Vespertine, Medúlla et Drawing Restraint 9.
Travail avec Björk
Selmasongs
– Programmation
Vespertine
– Programmation : It’s Not Up To You, Sun In My Mouth, Unison
Family Tree & LiveBox
– Mixage
Medúlla
– Programmation : Pleasure is all mine, Where is The Line, Who is it, Submarine, Oceania, Mouth’s Cradle, Triumph of a Heart
– Enregistement
Drawing Restraint 9
– Programmation : Gratitude, Ambergris March, Hunter Vessel, Vessel Shimenawa, Cetacea
– Claviers : Hunter Vessel, Vessel Shimenawa
Remix
– Triumph of a Heart (Valgeir Sigurdsson remix) - disponible uniquement sur son myspace
Valgeir Sigurdsson à propos de Vespertine
the filming of Dancer In The Dark, I set up a studio in the conservatory in the house in Copenhagen we were living in. It was lovely, an Icelandic colony of adults and children. She started developing new ideas, a lot of which ended up on Vespertine. Going into the studio was like closing the door on whatever had been happening on the film set that day. It was intense
Uncut - Avril 2017
Valgeir Sigurdsson à propos de Medúlla
The rule was that all the sounds on the LP should come from the human voice : her own voice, choirs, vocal processing and beatbox. It presented some challenges : how to do a really low bass, or a piano tone ? Piano is one of the most difficult things to [recreate] with voice. We ended up going to Robert Wyatt’s house. He said that he could sing the tone of a piano, so we created a sample library of him singing all the notes of the piano, and used that like a keyboard. It’s a beautiful thing. Robert was super keen on letting us build a virtual instrument out of his voice.
She listened to lots of different singers and went to concerts. One of the people from Vespertine, Tanya Tagaq, she carried over. She wanted to explore Mike Patton, so she went to a concert in New York, and he was there with the beatboxer Rahzel. At first she resisted using a human beatbox, but having heard him we thought, OK, we have to get him in the studio ! One thing lead to another.
There was a trombone line on two songs, and she said, “Who can we get for human trombone ?” I did ask the question : “Why don’t we just use a real trombone ?!” She said, “No ! Let’s see if we can really make this happen with just the voice.” It was a challenge. It’s about the search, the exploring, the discovery.Uncut - Avril 2017
