Sigur Rós
Svefn-G-Englar EP
[FatCat; UK]
Rating: 8.0
I don't envy Boston's meteorologists. Not only do they cover most of New
England, but they're facing a climate that's notoriously unpredictable and
severe, running the gamut from incapacitating heat to marrow-freezing cold,
from nor'easters to hurricanes. Under a hovering deadline, they must assess
their data using experience, education, and intuition, and then reach a
conclusion. And all for what? So that their audience is-- as one media
catchphrase goes-- "in the know?" Hmm... these responsibilities sound
strikingly familiar. After all, music critics also throw their opinions out
to the world and pray that history doesn't ruin their credibility.
Recently, drastic weather patterns headed for the northeast U.S. had
meteorologists hailing the "storm of the ½ century." As the predictions became
increasingly dramatic, so too did the public's panic. By the time the storm
was supposed to hit, everyone was too busy closing schools and buying emergency
supplies to notice that nothing had happened yet. And when the storm finally
arrived, it wasn't even the storm of the decade, let alone the "½ century."
Sure, it dumped an inordinate amount of snow. But, in my town alone, the
"perfect storm" of 1991 sucked a house out to sea, sent forty-foot walls of
seawater into the air, and threw boulders the size of Geo Metros onto the
causeway. And that was supposed to be a routine storm.
But that's just the way it is with storms. And rock bands. Some hit without
warning, like Nirvana, and others are boosted as much by prehype as by the
music itself-- like Reykjavik, Iceland's Sigur Rós. Since reading our own
Brent DiCrescenzo's review of Ágætis Byrjun-- in which he called them
"the first vital band of the 21st Century"-- you've probably seen the hype
swell, like a beached whale in summer, from indie publications all the way to
Spin's Top 20 of 2000. Not that I think the hype is unwarranted: I was
among all but two Pitchfork critics to have Ágætis Byrjun in my
Top 20.
While history has yet to fully validate DiCrescenzo et. al., the
Svefn-G-Englar EP-- originally released in 1999, but just reissued by
the UK indie FatCat-- is additional proof of Sigur Rós' immense talent. The
first two songs, however, also appear on Ágætis Byrjun. With its
rumbling skies, wailing sirens, and a distant toll, the nine-minute title
track builds like a scene out of The Odyssey, then clears in a flash. A
calming organ sets the foundation for an onslaught of searing guitar notes and
Jón þor "Jónsi" Birgisson's alien vocals-- a Joycean concoction of Icelandic
and the band's fabricated patois, "Hopelandish." Aside from the awesome
descent at the three-minute mark, the song's movements are subtle; one must
patiently wade through them to feel the swirl of conflicting emotion.
"Viðrar Vel Til Loftárása," is a decidedly different piece, opening with a
plaintive piano and romantic swells of strings. While not carrying as much
emotional depth, this song is decidedly more uplifting-- even teetering, at
times, on the level of a dramatic Hollywood movie score. But just before
reaching maudlin proportions, it either pulls back, turns to orchestral chaos,
or is torn open by a guitar wielded like a power saw.
The two tracks that comprise the second half of the EP were recorded live at
the Icelandic Opera House in 1999. "Nýja lagið," a previously unreleased
number, opens at a turtle's pace, with casual kickdrums and a snare, light
strumming, and a feedback-laden guitar. When Birgisson's demanding voice
enters, it doesn't sound nearly as feminine or foreign: he actually sounds
like a male, and one feels as though, with enough concentration, the lyrics
are almost decipherable. While the inhuman nature of Birgisson vocals is one
of Sigur Rós' compelling and unique traits, these less-inhuman vocals actually
work here, particularly during the descending moments where Sigur Rós are at
their darkest and most poignant.
"Syndir Guðs," an alternate version of a cut from 1997's Von, is equally
slow, but more melancholy than funereal. The trademark guitar streaks are held
to a minimum-- except at the end-- and the rest of the instruments are
unobtrusive for the song's entirety. This places the emphasis fully on
Birgisson's voice, which vaults into the stratosphere like Neil Young and
Elizabeth Fraser performing a duet on helium.
For those who don't own any Sigur Rós material, this EP is a good introduction
to the band. Those of you who already own Ágætis Byrjun are understandably
concerned about the 1:1 ratio of songs you have and have not heard. But the
two live tracks make this EP worthwhile for at least the addicted fan, of
which there are more every day. So is Sigur Rós "the first vital band of the
21st Century?" I'm not venturing a guess. But they are, without a doubt, a
vital band. There's no risk on my part in saying that.
-Ryan Kearney