Like many, I watched Cameron Crowe’s Vanilla Sky back in 2001 and was mesmorized by a song that played at the end of the film. The song was called, “Njósnavélin,” translated as “Nothing Song,” and was an unreleased live version of the same track that would appear on the third studio album by an Icelandic band called Sigur Rós. That album didn’t have a name but instead was referred to by open and closed parenthesis “( ),” just one of many idiosyncrasies that define the pretentious nature and mystery that is Sigur Rós.
The band was formed on the day the lead singer’s (Jón Þór “Jónsi” Birgisson) sister was born (1994) and takes her name, which means Victory Rose in English. Sigur Rós labels itself as a “slow-motion rock band.” Each song sounds like the soundtrack to a new emotion, layered with strings, horns, piano, electronics, feedback, natural sounds, and a lead singer who plays his guitar with a bow and sings in a made-up language. The resulting sound receives universal acclaim from fans and critics alike:
- “There is no more transportive band working in music” -Spin
- “Sigur Rós effortlessly make music that is massive, glacial, and sparse….. They are the first vital band of the 21st Century. ” – PitchforkMedia
Sigur Rós’ new album is called Með suð í eyrum við spilum endalaust (With a Buzz in Our Ears We Play Endlessly) and was produced by Flood (Nine Inch Nails, U2, Depeche Mode). It’s the first time the band recruited the services of an outside producer. Stylistically, it’s a departure from their past work but is still easily recognizable as a Sigur Rós album. Several songs follow more of a traditional song structure, including the first track and one of the album’s highlights, Gobbledigook. As promised by the band, there are more guitars here and less strings.
Most of these songs still include the band’s signature build up to an intense climax. Festival, the album’s longest track at 9:24, is the best example. During the first five minutes of the song, all we hear is the falsetto of lead singer Jónsi over a subtle string arrangement. Next, a repetitive guitar riff kicks in, supplemented by simple percussion. The song slowly builds until a crescendo of strings, guitar, drums and cymbals leads a musical apex that lasts for the duration of the track’s final three minutes. The album is currently being streamed from their web site for free.
With some changes in style and the production of Flood, one might expect this release to be heavier and louder than previous albums in the catalog. That’s not the case. In fact, this is Sigur Rós’ quietest album (with the exception of maybe three tracks). Although the band’s last album, Takk, might be more complete, the highest moments Sigur Rós has reached musically are on this album. The second track, inní mér syngur vitleysingur, is the best song the band has written to this point and might be the best song of 2008 (so far). Sigur Rós is one of the cockiest bands around. They once claimed, “we are simply gonna change music forever, and the way people think about music. And don’t think we can’t do it, we will.” Fortunately for Sigur Rós, they’ve backed up their talk with one of the best albums of the year.
The video for the album’s first single can be seen here:
RECORD REVIEW
Artist: Sigur Rós
Album: Með suð í eyrum við spilum endalaust
Release Date: June 23, 2008
Record Label: EMI, XL Recordings
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