Sigur Rós: () 20th Anniversary Edition album review

Last week on the occasion of its twentieth anniversary, () Re-released in a remastered version with additional tracks. It comes amid a flurry of renewed vigor for the band, which lay dormant for a long time until returning with a Nordic opera in 2020, just a raven’s feather too early for the band. Ida-Based on a wave of Sandmen, Northmen, and Odin – knows what – all men coming. Reunite with the wayward keyboardist Kjartan Svensson – who he joined for Ágætis byrjunhelped professionalize the self-made band, and left in 2012 – they’re on a world tour, and a new album is due next year.

Emphasizing its position in the Sigur Rós catalog, () It appears heavily on their current playlist, and they say their 12-minute finale, “Untitled #8”, has shut down all of their shows since it was written. This was their first record with drummer Orri Páll Dýrason, who remained in the band until he was accused of sexual assault in 2018. It also features Sveinsson; George Holm bass, keyboard and glockenspiel; quartet series Amina; And Johnsey in the middle, his voice as a lone candle passing through a gloomy, echoing cathedral, and his guitar the huge, dancing shadows cast on the walls.

The log was formed in two halves, first light, then dark, but even the light is covered with heavy shadows, to the delight of those who find Sigur Ross’s treacle of molasses indispensable and at times overgrown. More awake than just the beginning, “Untitled #1” is a twilight piano hymn infused with soft organic tones and floating harmonies as any trace of acidity has filtered out from the charcoal. The second track is mottled and eerie, and it’s only with the third clip – which has about 35 million streams from Spotify, and is the most popular song on the album to date – that we finally hear an undiluted example of Yuletide’s childish splendor that made them famous.

mostly, () It alludes to the darker and more difficult Sigur Rós while still being easy to listen to – especially the fifth path, which is Saturn and mysterious, with the parallel Jónsi candle now like an oil flame revealing the inscriptions on obsidian. This side of the band starts the second half of the record, which is where most of the bonus material comes from. In addition to the three tracks for the off-album piece “Untitled #9”, which have long been available on the Internet, there are demos for the sixth, seventh and eighth songs. (The upcoming physical version will include additional bonuses, for better or worse.) These types of add-ons are mandatory for the artist and can easily be bypassed by the listener, which is recommended here, as they are kind of malicious.

There’s something intensely beside the point, even perverted, about listening to Sigur Rós demos. The magic of their music lies in how it reaches us in glossy and perfection, after producers and engineers smooth and smooth those untamed, fuzzy sounds so that each sounds impossibly close and larger than life. However, here’s “Untitled #6” without the critical guitar tone, and “#7” with a more trembling and early ascent time. None of it sounds very revealing or fun, and hearing Jónsi’s voice without his elegant looks is noticeably delusional. Who wants to see Santa’s belly in a plain T-shirt? But this deliberate privilege of the market is the only way that () It lost any of its reflected cloudy luster. The thing about artificial language is that it always has new things to say.

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Leave a Comment