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Sunday, April 5
The Indiana Daily Student

And now, more Icelandic weirdness

In the '70s and '80s there was a series of albums put out called Environments, which was recordings of things like "Country Thunder Storm" and "Wind in the Trees." Fundamentally, Icelandic band Sigur Rós is an extension of the sensibilities explored in these records. The band is attempting to create visceral experiences with its music by recalling tranquil images. \nThe group's 1999 album, Ágætis Byrjun, had a three-year odyssey in finding its public. It was finally released in the United States last year and has slowly picked up fans by word of mouth and critics' praises. Perhaps, knowing that the bulk of its new audience didn't understand the language, the band's new album is called ( ) and all eight tracks are officially untitled. \n( ) lacks a track with immediate recognition like "Svefn-G-Englar" from the band's last album, although that track had help by being included in Cameron Crowe's movie "Vanilla Sky." Yet, ( ) is a comfortable listening experience, the kind of album that sounds just as good when you're folding laundry as it does during those moments of deep pessimism.\nIf ( ) creeps dangerously close to Enya-style New Age, and Jon Thor Birgisson's falsetto vocals border on lilting, take solace that the group does have a certain amount of indie-cred. Also, where Enya can be glossy and uplifting, Sigur Rós is still just a band (bass, drums, keyboard and guitar) whose sound is more reminiscent of a symphony orchestra recording in a garage.\nAll eight tracks on ( ) sound like they could be the work of a collaboration between minimalist composer Terry Riley and Radiohead. Not only does Birgisson's voice recall Thom Yorke's balladry, but also the treated vocals and synthesizer squeals sound like samples from Kid A. \nSigur Rós is more background music, though, and if ambient music is supposed to reward close listening, this doesn't. The group's new album is onerous at best and pretentious at worst. The melodies are pretty, but a little guitar feedback amongst the pastoral soundscapes does not make a masterpiece.

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