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When I suggest that the whole concept reminds me of the old “chillout” rooms from the ’90s rave scene, he agrees: “Paul and I really liked happy hardcore music and the idea of chillout rooms.” “What we like to do is make a really foggy, hazy, kind of sleepy, dreamy atmosphere-through lights, and we burn some frankincense,” Somers tells me just before the start of the event. “What we like to do is make a really foggy, hazy, kind of sleepy, dreamy atmosphere-through lights, and we burn some frankincense.” So the invited audience of about 150 VIPs-which includes Eric Wareheim (who provided the event’s wine from his boutique label, Las Jaras ), KCRW DJ Mario Cotto, and the guy who did A&R for Trent Reznor’s Nothing Records -sit on couches, rugs, and ottomans upholstered in white fur, or stand along the pool’s edges, their ankles shrouded in steam that rises from the heated water and mixes with white plumes from discreetly placed fog machines. Typically, as at most sound baths, Liminal listeners lie on the floor, but there’s not enough room in Sowden House’s courtyard, which is dominated by a long heated pool and hot tub. Jónsi, Somers, and Corley began doing their Liminal sound baths last year, using them to debut one-hour segments of what is intended to be a continuous, endlessly expanding mix of ambient compositions and remixes. Earlier this year, it was purchased for upwards of $4 million by the owner of a company that makes cannabis products for pets, who now uses it to host things like this sound bath event, which I believe officially makes it the most LA house ever to have existed. It’s also allegedly the site of the infamous Black Dahlia murder. We’re at the John Sowden House, the imposing stone residence designed by Frank Lloyd Wright’s son to look like an ancient Yucatan temple, whose distinctive textile block facades have appeared in The Aviator and America’s Next Top Model. One wall is open to that chilly courtyard, and from here the proceedings could be mistaken for some ancient Mayan ceremony, albeit one with lots of leather jackets and bespoke cocktails. I find one way in the back, in a living room that looks like the cover of a Carole King album, all Afghan blankets and throw pillows, with a magnificent grand piano as its centerpiece. Actually, it’s only fifty-two degrees, but I am a thin-blooded Angeleno, so about halfway through their hour-long set, I risk breaking the spell to get up and seek out a warmer vantage point.
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There’s just one problem: We’re outside, and Jónsi seems to have brought some Icelandic weather with him. It’s beautiful stuff, and the hipsters, to their credit, are listening attentively, many with heads bowed and eyes closed, vibing out to the celestial sounds.
#Sigur ros agaetis byrjun bass tab series
Waves of enveloping bass are washing over me as the three of them, flanked by Sigur Rós’ Georg “Goggi” Hólm on bass and Icelandic ambient/post-rock composer Kjartan Holm on guitar, work a bank of laptops, synths, mixers and patchbays, weaving together a series of new Sigur Rós tracks and remixes. I’m sitting on a red Persian rug surrounded by a veritable Noah’s Ark of LA hipsterdom, listening to the live world premiere of Liminal 3, the latest addition to an ever-growing “mixtape” of ambient music produced by Jónsi of the Icelandic band Sigur Rós, his partner Alex Somers, and the group’s music director, Paul Corley. I am not dressed warmly enough for this sound bath.