Originally a duo, the band has expanded and contracted in the 12 years of being and has counted 15 - 20 people along the way.
The band was formed in 1997 by original members Gunnar Örn Tynes and Örvar Þóreyjarson Smárason, their first release was a split 10" with the girl-band Spúnk and saw light in the summer of '98. They were joined a year later by twin sisters Gyða and Kristín Anna Valtýsdóttir and released two albums as quartet. Following a number of collaborative projects, the group’s celebrated debut album Yesterday was dramatic - today is OK (reissued by Morr Music in October 2005) gained a wealth of glowing press and widespread praise. A remix project, Please Smile My Noise Bleed, also released on the Morr Music label in November 2001.
In 2002, after the release of Finally We Are No One and the extensive first world tour, Gyða left the band to return to her studies in Reykjavík. Shortly after, the third sister Ásthildur Valtýsdóttir joined for singing duties temporarily and Serena Tideman replaced Gyða on cello, for a single European tour. The band's third album, Summer Make Good, a darker and foggier, nautically themed work was released in May 2004, flanked by two singles, Nightly Cares and Dusk Log. By then the ensemble had evolved to include Eiríkur Ólafsson and Hildur Guðnadóttir (who had guest appearances on múm recordings from the beginning) and Ólöf Arnalds. In early 2006, Kristín also left the band after releasing and heavily touring the album Summer Make Good.
The start of 2006 saw the band's creativity start to blossom once again, starting with two remixes Goldfrapp of the tracks ‘Number 1’ and ‘You Never Know’. They followed this with two legendary DJ sets at the FatCat Festival in Belgium in February and SXSW in Austin Texas 2007. With a combination of decks, effects, laptops, toy microphones, old cassette player recordings and vocals, coupled with their own recorded material, strange electronic covers by friends, gypsy folk music and general craziness on stage. They were also subsequently invited DJ at Summer Sonic Festival in Japan as well as be headline act as DJ's in Radio 1’s Rob Da Bank tent at Bestival on the Isle of Wight. In september 2007 múm released Go Go Smear the Poison Ivy which turned out to be the bands last release for the Fatcat Records.
múm has always worked on projects which could be classed as unusual for a pop band or a pop collective. Among their extra curricular activity is their own soundtrack for the classic Sergei Eisenstein film, 'Battleship Potemkin', live performances of which have taken place in Hafnafjordur Iceland, Brooklyn Lyceum New York, and at the distinguished Gijon Film Festival Spain. múm have also composed for theater, most notably two radio theater plays, 'Svefnhjólið' (Sleeping Wheel) by Gyrdir Eliasson which won the Nordic Radio-theater prize and in 2008 Augu þín sáu mig (Your eyes saw me) by poet Sjón (which múm also worked with in 1999 on the operetta Kisa (cat). In 2005 they were invited to Amsterdam by the Holland Festival to collaborate with the National Dutch Chamber Orchestra to create a performance piece based around various compositions of the late avant-garde composer Iannis Xenakis for one of the centre piece shows at the festival.
múm released their fifth studio album, Sing Along to Songs You Don't Know, in August 2009. The collective now consists of founding members Gunnar Örn Tynes and Örvar Þóreyjarson Smárason and for touring and recording, this line-up is expanded to include their friends Eiríkur Orri Ólafsson (trumpet / piano/ keyboards), Hildur Guðnadóttir (cello / vocals), Sigurlaug Gísladóttir (Vocals / ukulele/ various), Róbert Reynisson (guitars/ukulele's) and the Finnish Samuli Kosminen (drums / percussion). The musical group sometimes extends to Ólöf Arnalds, Högni Egilsson, Ólafur Björn Ólafsson and Guðbjörg Hlín Guðmundsdóttir as well as a never ending family of friends and musicians who may join at the drop of a hat.
Official website: http://www.mum.is
Hullaballabalú
múm Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pararara rara, pararara rara, para
Húllabbalabbalúú, húllabbalabbalúú
Húllabbalabbalúú, húllabbalabbalúú
In these words we drown, in these words we drown
In these words we drown, in these words we drown
Deep, deep, deep down, deep, deep, deep down
Húllabbalabbalúú, say kings of every land
Húllabbalabbalúú, say him and me and you
Húllabbalabbalúú, say birds of every land
Húllabbalabbalúú, say them and him and me and you
In these words we drown, in these words we drown
In these words we drown, in these words we drown
Deep, deep, deep down, deep, deep, deep down
Deep, deep, deep down, deep, deep, deep...
Húllabbalabbalúú... Para, padam padam, para
Pararara rara, pararara rara, para
Húllabbalabbalúú, say kings of every land
Húllabbalabbalúú, say him and me and you
Húllabbalabbalúú, say birds of every land
Húllabbalabbalúú, say them and him and me and you
In these words we drown, in these words we drown
In these words we drown, in these words we drown
Deep, deep, deep down, deep, deep, deep down
Deep, deep, deep down, deep, deep, deep...
Húllabbalabbalúú... Húllabbalabbalúú... Húllabbalabbalúú...
The lyrics of múm's song "Hullaballabalú" seem to be focused on the power of words and how they can impact us deeply. The recurring phrase "Húllabbalabbalúú" almost sounds like a chant or a mantra, and the repetition of the phrase "in these words we drown" emphasizes the idea that words can be overwhelming and all-consuming. The inclusion of "kings of every land" and "birds of every land" suggests a universality to this concept - that it doesn't matter who or what you are, words have the power to affect you.
The inclusion of the nonsense phrases "para, padam padam" and "pararara rara" add to the hypnotic quality of the song. These phrases almost mimic the sound of a heartbeat or a pulse, which could further underscore the idea that words are at the core of our being.
Overall, "Hullaballabalú" is a song that seems to be about the power of language and how it can shape us. The repetition of the title phrase, the chanting quality of the song, and the emphasis on drowning in words all add up to a haunting and hypnotic meditation on the subject.
Line by Line Meaning
Para, padam padam, para
Repetition of rhythmic sounds representing the beating of a drum
Pararara rara, pararara rara, para
Repetition of similar sounds representing the continuance of the rhythmic beat
Húllabbalabbalúú, húllabbalabbalúú
Repetition of an invented word, possibly representing a sense of chaos or confusion
In these words we drown, in these words we drown
The repetition and overwhelming nature of language can consume and overwhelm us
Deep, deep, deep down, deep, deep, deep down
The impact of the words goes beyond the surface and reaches deep into our psyche
Húllabbalabbalúú, say kings of every land
Even those in positions of power and influence are affected by language and its impact
Húllabbalabbalúú, say him and me and you
Every individual is susceptible to the influence of language
Húllabbalabbalúú, say birds of every land
Even creatures with different forms of communication are subject to the effects of language
In these words we drown, in these words we drown
The power of words can be all-consuming and overwhelming
Húllabbalabbalúú... Para, padam padam, para
The invented word and rhythmic beat continue to dominate the lyrics, emphasizing their significance
Húllabbalabbalúú, say them and him and me and you
All individuals, including the singer themselves and those listening, can be affected by language
Deep, deep, deep down, deep, deep, deep down
The impact of language can penetrate deeply and persistently
Húllabbalabbalúú... Húllabbalabbalúú... Húllabbalabbalúú...
The repetition of the invented word underscores its importance and impact
Contributed by Josiah F. Suggest a correction in the comments below.