2016 Review: Iceland

In 2012, Greta Salome sent in two songs for the Icelandic national final Songvakeppnin, one she performed in and the other which she didn’t perform in. The act which she performed in won the selection and she got the ticket to Baku as both composer and performer. This year was the same story: Two songs in Songvakeppnin and she won with the song that she performed. Four years ago she sang that she (and Jonsi) would never forget. This time she hears voices calling (most likely due to her phone going off).

Since the most prominent item in her staging is the light screen, everyone’s been talking about it and how projection mapping is apparently now copyright MZW. She’s already mentioned multiple times that yes, while both require very detailed stage movements for the artist, the two acts are different: one is projecting lights onto the surface of an opaque dark screen, while the other is shadows projected onto a light screen. (For the public that keep forgetting, shadows and screens aren’t 100% original either; try Lithuania 2007. At the same time, neither is dancing with a wind machine or retelling St. Teresa’s visions if you’re not St. Teresa.)

Like ManuElla’s printer ink colors, the voices that Greta hears are a mixture of good and bad, but still distinct. The voices that should be listened to are the people, and those that should be ignored are hands, ready to punch or grab. But since I just finished a biochem exam the day this post was written, part of me is imagining Greta performing affinity chromatography with antibodies that will ignore the bad voices and react to the good voices. Someone else can collect the bad voices, but Greta’s not going to.


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