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And In the Endless Pause There Came the Sound of Bees

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Like many composers and musicians who make primarily instrumental music, Jóhann Jóhannsson’s work has been described as filmic, and he has in fact scored several films. Still, And in the Endless Pause There Came the Sound of Bees occupies a special place in his body of work. This music was written for Marc Craste’s 2008 short animated film Varmints — which was adapted from Helen Ward’s Craste's illustrated book of the same name — and it’s a story that fits the concerns Jóhannsson explored in works like IBM: A User’s Manual and Fordlandia with almost eerie perfection. Technology, hubris, overconsumption, and the environment all factor into Varmints’ tale of a little animal who must find a way to protect life as he knows it from an encroaching city. With the help of the Prague Philharmonic Orchestra & Choir, Jóhannsson covers purity and corruption, hope and despair, and the natural and mechanical worlds over the course of 37 minutes; a short-form work compared to some of his other albums. But while the massiveness of works like Fordlandia was part of what made them so stunning, And in the Endless Pause There Came the Sound of Bees’ strength comes from its small size — much like the varmint the film follows. In just over three minutes, “Theme” sketches out the fragile beauty of the animal’s bee-filled meadow and the first hints of the coming devastation; “The Flat”’s industrial drones and electronic vapor trails evoke its aftermath in just a few minutes more. Even if this isn’t among Jóhannsson’s bleakest music, it’s among his most emotional, and much more somber than most scores for animated films. Yet his approach is never cartoonish. If anything, “Entering the City”’s muted strings and harp and the beckoning pipe organ and choir of “Siren Song” are some of his subtlest pieces, making the glimpses of light and hope in “Pods” and “Rainwater” — which sounds so fresh that it seems to carry a breeze — all the more tantalizing. As always, Jóhannsson conveys these shifts in mood effortlessly but with great nuance. The album’s most hopeless moments, such as the almost weeping soprano vocals on “City Building (Alt. Version)” and the vast bleakness of “Escape,” come before the sunrise of “Inside the Pods”’ strings and “End Theme”’s wide-open joy, but it feels far from clichéd. And in the Endless Pause There Came the Sound of Bees was originally available as a 1000-copy vinyl release on Jóhannsson’s 2009 North American tour, but many more people than that need to hear this intimate album from a composer who expresses himself more exquisitely with each work.


Nacido/a: Reykjavik, Iceland, 19 de septiembre de 1969

Género: Electrónica

Años de actividad: '90s, '00s, '10s

Composer/producer/multi-instrumentalist Jóhann Jóhannsson is one of Iceland's most prolifically creative musicians, as a solo artist as well as a part of the Kitchen Motors label and collective (which also includes members of Sigur Rós, Múm, and Slowblow) and also Apparat Organ Quartet. Kitchen Motors' aesthetic, which focuses on largely improvised and electronic music, also applies to his other projects. Apparat Organ Quartet, with music described as "machine rock & roll," consists of four keyboardists...
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And In the Endless Pause There Came the Sound of Bees, Jóhann Jóhannsson
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