Sigur Ros - “Með suð í eyrum við spilum endalaust” Review
Sigur Ros. Með suð í eyrum við spilum endalaust . 2008. 3.5 stars .
Iceland’s Sigur Ros have become synonymous with 21st century post-rock and for good reason. Initially stirring their brooding, neo-classical travels in the same icy gloom as innovators Godspeed You Black Emperor, Labradford etc, Sigur Ros added a strange endearing twist - soothing, choir-like vocals that lent their drama an air of hope and innocence, emotions the underground shunned and forgot. As a result, Sigur Ros, with all their E.T.-like charm, came out of the darkness and into popular consciousness, eventually lending tunes to apocalyptic films like Children of Men and Vanilla Sky . Deservedly, their breakthrough album Ágætis byrjun has been deemed as essential as Radiohead’s Kid A or My Bloody Valentine’s Loveless , as it carved out a sound that was harrowing, innovative and heartbreakingly beautiful. After such a strong impression on the world’s stage, pressure on the band surmounted. Where would they go next?
The evolution of Sigur Ros’ sound has been a slowly unfolding one, leading us, after two successive LPs to Með suð. Their previous follow-ups ( ) and Takk … didn’t deviate far from the original glacial formula, perhaps one was more abstract while the other more condensed, but the results were essentially the same. With their most recent disc however, the band has finally hit a progressive stride, if only for its first half, indicating that there is still more to expect from one of this decade’s most important acts.
Globe-trotting recording sessions and intimate tours of rural Iceland has given their work a more rustic, eclectic, and optimistic flavor, with greater emphasis on acoustic instruments and simple song structures. The clearest example of Sigur Ros’ shift is on the opener "Gobbledigook" where scratchy acoustic chords and disjointed coos lead us into a sunny patch of folksy exultation. Initially startling in its tribal jubilee, "Gobbledigook" is the most radical departure the band has taken in its whole career, making this a clear standout and wise choice for a single. Graceful xylophone percussion leads the momentous "Inní mér syngur vitleysingur" which eventually swells to a stunning cathartic finale complete with strings and soaring vocals. The soothing acoustic plucking of "Góðan daginn" keeps with the spring-like aura of change and metamorphosis, as gentle melodies careful open up and shimmer. The momentum continues on "Við spilum endalaust"., where confident, propulsive rhythms, aligned with passionate piano keys hammering down to the beat, showcase the band’s otherworldly emotionality.
After such an incredible string of songs, the second half of the album is slightly underwhelming, as the band regresses back to the comfortable shadows of their earlier aesthetic, playing the incredibly slow and atmospheric symphonies that made ( ) such a challenging yet meditative listen. As much as I tried to dig into the nuances the second side had to offer, like the kinetic bass lines emerging out of "Festival", I couldn’t keep the weight off my eyelids. After the high brought on by the album’s opening, I was left burnt out and sleepy by its conclusion, which isn’t necessarily a bad thing considering Sigur Ros’ ambient leanings, it just leaves the entire endeavor feeling slightly uneven.
Even still, this album is a tremendous success. It has passion, warmth and sincerity, which Sigur Ros have always possessed, and there are enticing revolutions presented here for their sound, even if they are not cohesively put together. As far as pure, life-affirming drama is concerned, Ágætis byrjun, remains, perhaps forever, their most expressive and important work. Rest assured though, the same genius is found sprouting and changing on Með suð , further revealing the band’s transcendental qualities.
Sigur Ros - Gobbledigook
June 26th, 2008 at 8:52 pm
Good review. Though I disagree with you; I think the second half is better. The album going from high to low as you describe only helps it, as I find it manages to invoke intense emotion by the time the fourth and third last songs are done.
I’m also surprised you didn’t mention the 7th song “ara batur” at all in your review. To me, if the goal is to convey emotion, strength and to build from a slow beginning into an amazing crecendo (i think that’s what it’s called?), then this song is a perfect example of practically perfect song-writing.
I would call this a 4 star album at least…4.5 even. Though that’s just me…and you know I’m not much for these kinds of ratings anyway heh
June 27th, 2008 at 8:51 pm
Yes, ratings are a little arbitrary, you could probably get away with just ‘bad’, good’ and ‘exceptional’. I’ve listened to the entire thing several times and yes all the amazing build-ups are there but I just felt the second half blended together. I guess I’m also partial to the darker and tenser Sigur Ros (song 6 from Ágætis byrjun is a great example). I guess after listening to this band for several years, I expect certain things from them that may not be part of their own musical journey. It’ll grow on me more over time I’m sure.