True to the more muted tone of the premiere, the second episode offers minimal indication that anything is wrong.
A film about history that avoids it entirely. Not out of cowardice or lack of nerve, but because the head-on acknowledgement of Europe’s long 20th century is quite simply too painful.
Sigur Rós takes on a more aggressive posture on their seventh effort, Kveikur.
Kveikur is a more pointed effort, stripped of the lavish, often self-serving production the band indulged in the past.
Valtari proves that Inni was more of an unfortunate blip than the sign of impending stagnation.
Inni is beautiful and alluring, yes, but ultimately a recycled bit of nostalgia likely to please very few.
The Electric Factory is perhaps the perfect venue for an artist like Jónsi.
Recorded largely outside of Iceland, Með Suð is less polished than the band’s previous outings.
Sæglópur is a fleeting experience, but one which resonates.
Takk… often sounds like a faithful reproduction of the outsized pop of Radiohead’s The Bends.
While it might be free of meaning (and irony), it’s chock-full of pretense.
Sigur Rós is perhaps the first (and only) Icelandic export to strike an international nerve since the Sugarcubes.