Sigur R’s

By Eric Lewin

Geffenwww.sigur-ros.co.uk

When Tortoise and Low first wrote the term “slow core” into the hipster dictionary, the proverbial jury was left to ask, “Is this where rock has lead itself, or are these droning songs little more than a cop-out for bands who don’t want to try?” After Sigur Rós’ additions to the formula and a recent surge of popularity among the indie proud, the verdict seems to be an acquittal.

Compared to Rós’ back catalogue, particularly Ágætis byrjun (translated as “an alright start”) and the pretentiously titled ( ), Takk is considerably more subdued, but strange nonetheless. Songs like “Glosoli” and “Milano” build predictably, yet beautifully, leaving little room for argument about Rós’ predilection for the grandiose. “Gong” lets Rós’ Bends-era Radiohead influence show, an experiment held together by Jónsi Birgisson’s Thom Yorke-like wail. And speaking of vocal borrowing, check out the Chris Martin impression on “Anduari” and “Svo Hljott.” Coldplay really is everywhere these days!

There’s no room for fence-straddling when it comes to Sigur Rós. With Takk, many are now heralding Rós as the best band in the world and ready to hand the championship belt over immediately. To others, Sigur Rós is about as exciting as a dream about mowing the lawn. Maybe the nay-sayers are confused or just bored. It’s also possible that they just liked Sigur Rós more the first time, when they were called My Bloody Valentine.  VS