It doesn’t really require elaboration, or added context. Today, we revisit Sigur Rós’ elemental 1999 breakthrough. On It’s entire appeal lay in the sense that it dropped, immaculate and mysterious, from the sky. Today, we revisit Sigur Rós’ elemental 1999 breakthrough.A first look at the billion-dollar company’s potentially game-changing collaboration with Sigur RósA first look at the billion-dollar company’s potentially game-changing collaboration with Sigur RósPortraits and live shots from last weekend’s fest in Porto, Portugal, featuring Deerhunter, Beach House, Wild Nothing, Julia Holter, and more.Each entry in the long-running 33 1/3 series finds a writer delving deep into a notable album, teasing out fresh details from beloved classics or making a case for the unexpected along the way. The distance between the quietest noises—the little cymbals ticking the eight notes on “Svefn-g-englar,” Birgisson’s falsetto—and the loudest ones—say, the drums and organ that land like Thor’s hammer about six minutes into the same track—feels measurable only in miles. It is a sound designed to overwhelm, and it does, which is probably how British critics ended up gasping that the music was “The album is a triumph, above all, of arrangement and engineering.

The piping melody that ends “Olsen Olsen,” doubled up with horns and a choir, is straight out of a Mannheim Steamroller Christmas album.Live, they maintained this communal feeling without sacrificing clarity. When the piano kicks in on “Starálfur” (the same one that accompanies the discovery of the mythical jaguar shark in If you are inclined to sniff suspiciously around grandiose music, examining it for kitsch, you probably reeled away staggering from Sigur Rós, who proudly stink of it. Pitchfork: Sigur Rós uses a lot of found sound and some non-traditional recording practices.
pitchfork media review of 'hvarf/heim' (gagrnýi) a couple of weeks ago, the masochists at npr posted a video clip of an attempted conversation with members of sigur rós, titled "when good interviews go bad." The drums are nested inside so much reverb that you can nearly hear the air gathering around the snare head before impact.

Sigur Rós (Icelandic pronunciation: [ˈsɪːɣ̞ʏɾ ˌroːus] ()) is an Icelandic post-rock band from Reykjavík, active since 1994.Known for their ethereal sound, frontman Jónsi's falsetto vocals, and the use of bowed guitar, the band's music incorporates classical and minimal aesthetic elements.


Jónsi has teamed up with the VONA collective to offer two cannabis-based products titled SLEEP and WAKEEach Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. They are gloriously unafraid of blast-off. It is a long, liquid sound, devoid of sharp points: Even the most massive dynamic shifts happen with rounded edges. When Sigur Rós' second full-length record, Agetis Byrjun, landed stateside in 2001, its extraterrestrial oozing was so unfamiliar (and, subsequently, … Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit Sigur Rós’ elemental 1999 breakthrough. the pauses between question and answer are painfully long, the answers brief at best and completely disinterested at worst.

With more than 100 titles to its name at this point, Stephen M. Deusner highlights the collection’s finest moments.From Death Grips' epilepsy-inducing freak-out, to Dirty Projectors' high-art cinematics, to Frank Ocean's warped strip club, to M.I.A.

They have been nominated for and received various awards throughout the years.

to Four Tet, Kanye West to Joanna Newsom—and the many sides of Radiohead, too—here are the albums who defined the decadeOur survey of the decade continues with a countdown of the 50 best videos of the 2000s.The best tracks of the decade that changed everything for radio, the underground, and your iPodFrom indie rock to pop to disco to hip-hop, we count down our favorite tracks of the year.We present the 2008 Year in News, a roundup of music-related triumph, tragedy, and kookery from the pages of Pitchforkmedia.com over the past year.The 10th Øya Festival featured a diverse range of indie-friendly music from Sonic Youth to Clipse, the National to Girl Talk, My Bloody Valentine to Sigur Rós, Okkervil River to Sunn 0))) as well as a host of big Now artists-- Cut Copy, Fleet Foxes, No Age, Yeasayer, Lykke Li, the Bug, and Lindstrøm, among others.We talk to 20-year-old singer/songwriter Zach Condon about his inspirational trip to Paris, his Eastern European-inspired sound, and his emerging live show.Is Secretive Virtual Reality Startup Magic Leap Dreaming Up the Future of Music?Is Secretive Virtual Reality Startup Magic Leap Dreaming Up the Future of Music? If we now live in a world of small, soft drones, a pruned garden of “Lush Lofi” and “Ambient Chill” and “Ethereal Vibes” Spotify playlists, we can blame this condition, at least in part, on the impact of To make the album itself, they recruited a keyboardist named Kjartan Sveinsson, who knew a lot more than they did about the things they were interested in—arrangements, composition, songs that sounded like cavernous day spas. I read that several parts of the new record were recorded on …

This was another part of their appeal and their strength: The music is texturally complex, for sure, but the emotional framework is deliberately simple and clear. Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. It is thunderous and dreamy, soothing and stirring—a big, frosted wedding cake of mallet percussion and pianos and strings and piping, cooing vocals. Unless you were Icelandic, you didn’t know what they were saying—and often not even then.