Often, Sigur Ros' music sounds like the
stuff that gods might listen to. Their oozing symphonic excess
and patiently paced crescendos enhance an unearhtly vocal performance
that could only be that of an Angel's. But this reliance on divine
weightlessness is not necessarily the element of Sigur Ros' music
that makes them so good. ( ) seemed to pile on that formless atmosphere
to no end, yet the album as a whole didn't quite reach the startling
heights of their prior album, Agaetis Byrjun. Conversely, their
new album, With A Buzz in Our Ears We Play Endlessly (English
Title), feels much more grounded, yet it's probably Sigur Ros'
strongest work since their sophomore masterpiece.
The down to earth qualities of the album
probably comes from the fact that many of the tracks blatantly
take cues from other modern bands. From the moment "Gobbledigook"
bursts out of the door, parading through an Animal Collective
drum circle, Sigur Ros seems to be finally showing a passion for
music other than their own. Besides the 3-minute acoustic pop
glory of the afforementioned single, "Inni Mer Syngur Vitleysingur"
tacks a Sufjan Stevens-esque wall of glockenspiels and horns onto
a driving, passionate rhythm. The combination of symphonic touches
and rock-song structure makes it feel like a twin to Arcade Fire's
"Keep That Car Running". Meanwhile, "Vi Spillum
Endalaust" is a picture perfect ascending anthem that recalls
Mercury Rev circa All Is Dream, and "Festival" wanders
through familliar holy territory for it's first half, but very
suddenly adopts a more earthly progression that is an exact replica
of the outro for Titus Andronicus' "Fear And Loathing in
Mawnah". This similarity is probably a complete coincidence,
because the aesthetic here is completely different, enhanced by
a more affecting build-up and bigger pay-off, but the fact that
any connection can be made between the celestial Sigur Ros and
a filthy bar-band that's pure Grassroots, is saying something
about how far the band has come to do away with the pretentious
qualities that's made them so hated by their dissentors.
Admittedly, the songs gradually and completely
return Sigur Ros to the sound that they're known for by the end
of the album, with tracks like "Ara Batur" and "Fljotavik",
so this mainly feels like a transitional album. Nonetheless, the
effect remains the same, and is only further established by the
inclusion of their first english-spoken song, "All Alright".
With A Buzz in Our Ears We Play Endlessly borrows it's warmth
from Takk... and it's creative layers of coos and voices from
( ), but the craft and accessibility of it's songs suggest something
that their last two albums didn't (besides the post-rock friendly
title) and that is tangible growth. Sigur Ros always tended to
sound, on some level, like they were going through the motions
just to maintain their heavenly reputation. But on With A Buzz...
Sigur Ros' sincerity cannot be questioned. They've transcended
their profile to become a magnificent, fun and soulfully symphonic
pop band. (Aron Fischer)
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