By: Faraz Chaudry
If there was ever a time to discover, or rediscover, Iceland’s post-rock ambassadors, Sigur Rós, it is now, with the recent release of their album Kveikur.
The band’s seventh album, it is marked by the departure of keyboardist Kjartan Sveinsson, who had been on since before the group’s second album, the groundbreaking Ágætis Byrjun.
As the only member with formal musical training, Byrjun contributed many of the more complex arranging for previous albums. However, at no point does Kveikur sound like a simple trio offering.
The record is rich with intricate textures and arrangements, marked by a constant electronic presence throughout the album.
The first track, “Brennisteinn,” blasts out of the gate with a paralyzing distorted electronic bass and heavy industrial drum beats, tied together by Jonssi’s characteristic bowed guitar.
This seven minute anthemic recording showcases the band’s musical range, something that has garnered them fans the world over.
From the devastating introduction it gracefully flows into lilting, ethereal sounds like only Sigur Rós can.
On the second single, the more radio-friendly Ísjaki, Jonssi repeats and modulates a simple, yet impossibly strong, melodic motive.
This is the song on the album that will not leave your head after listening, and also the best one to turn on stubborn friends who have not given in to Sigur Rós yet.
Not since Ágætis Byrjun have I heard such a masterful collection of songs, which is saying a lot. The beauty of this album is in its range.
They are able to push forward with heavy electronic elements while at the same time crafting hauntingly beautiful melodies that burrow inside your head.
These former elements will satiate the hordes of diehard fans, while their construction and melodies make Kveikur their most accessible album to new listeners.
Buy it, play Ísjaki for anyone who will listen, and watch as their fan base grows before your eyes.
