Sigur Rós – Með Suð í Eyrum Við Spilum Endalaust

New tricks/old fallbacks from divine shoegazers

Trending Now

Lucinda Williams: “I’ve been misunderstood for so long”

The country-rocker sets the record straight in the new issue of Uncut

Nick Mason on Syd Barrett: “He was pushing in a weirder direction”

Pink Floyd's early years revisited in the new issue of Uncut

George Harrison: “He was on a spiritual journey”

His solo years celebrated in the new issue of Uncut

It seems absurd to criticise music for being too beautiful for its own good, but Sigur Rós are sometimes guilty of soul-sapping tastefulness. In fairness, their fifth album acknowledges this dilemma, adding some promising new twists to their symphonic ambi-rock formula.

Inspired by last year’s concert-film project, Heima, they recorded these 11 tracks in more spontaneous and unpolished circumstances than usual, swapping their Icelandic comfort zone for New York, London and Havana.

This departure, in the album’s first half at least, produces fabulous new experiments like “Gobbledigook”, which weds tempo-shifting flamenco-folk to stomping baile funk drums. More muscular beats and life-affirming psych-pop epiphanies follow.

Sadly the album’s latter stages revert to type, as Jónsi Birgisson’s quavering choirboy falsetto illuminates glacially paced piano and strings. All achingly lovely in a Coldplay-meets-Clannad way, of course, but Sigur Rós play too safe when they clearly have much more to offer than misty-eyed Celtic abstraction.

STEPHEN DALTON

Advertisement
Advertisement

Latest Issue

Advertisement

Features

Advertisement