Sigur Rós
Kveikur

The Icelandic band Sigur Rós is back. Just one year after their last album "Valtari," they return to the scene with a bang. The album I'm about to present is a bombshell and leaves nothing to chance. It's time for "Kveikur," released between June 17/18, 2013 under the British label XL Recordings. The work was preceded by two 'trailblazing' singles released in March and April, respectively, "Brennisteinn", the opening track and, we could say, the key to the entire work and "Isjaki".

The anticipation, however, was set during their performance at the Iceland Airwaves Festival in October 2012 where they unveiled to the audience the unreleased "Brennisteinn," revealing the new album in preparation and marking a turning point in their career; this coincides with the departure from the group of the historical keyboardist Kjartan, a starting point for the renewal that the band envisages. "Brennisteinn" indeed immediately appears aggressive and veers towards decisive and pulsating electro-rock sounds, in stark contrast to the Sigur Rós of "Valtari", entirely immersed in a sweet and tranquil atmosphere, with light flutes and melodious notes, and the usual Sigur Rós, so focused on exploring dreamy and rich atmospheres of pathos that are never too pressing. This is the change they themselves declare in various interviews, the new album titled "Kveikur" ("wick" in English) will be decidedly harder and more resolute, representing the new condition of the remaining trio. In reality, after a first listen to the complete work, one realizes that this is only partially true; nonetheless, the melodies loaded with sound and the dreamy atmospheres the band has accustomed us to over the years remain. Therefore, there are nine tracks plus the video of "Brennisteinn"; attention must always be paid to the titles, simple and conceptual, in this case referring to natural phenomena, stones, and objects. The search is therefore for essentiality, always very refined. The cover immediately strikes and conveys the idea well; a black and white image of a hooded figure in the foreground against a black background. The result, without exaggeration, is a masterpiece that consecrates the band to Olympus and makes us understand their extraordinary mastery and command of their instruments, music, and spirit.

Tracklist (Editor's Note: the words introducing the description are solely a personal reference to what each one evokes in me) 

Brennisteinn (Sulfur) – 7:46. The Escape- The highly anticipated song opens the album and immediately hints at the work's orientation. It appears from the first notes dark and decisive, the electronics make their way among distorted sounds and dark atmospheres where the relentless rhythm progresses note by note and compels us to follow it breathless until the last minute where the melody suddenly changes and we catch our breath, the tension eases, the sounds become harmonious and slower until they fade. Essentially it is excellent, nothing is left to chance and it contains all the band's characteristics, both the already established and the newly announced ones forming. 

Hrafntinna (Obsidian) – 6:24 The Memories- Emotion immediately sets in as soon as the sweet and magical sound of cymbals and bells is heard. The mind draws on images and sensations experienced in a whirlwind of emotions that slip away until the last note. This piece enchants, it's a fairy tale narrated by Jonsi's sweet and high voice that transports us with him to a magical world. Here, change is hard to see, unique in their genre already established over time. Fantastic, there's nothing to do but close your eyes and completely surrender. 

Ísjaki (Iceberg) – 5:04 Hope- Reading here and there I noticed that the term "pop" often recurs to classify this piece, which I don't completely agree with. Undoubtedly, "Isjaki" is the most immediate of the album, with a simple and light structure, a catchy chorus, music rhythmically just right to make it more of a radio track compared to the rest. However, it's not fair to categorize it solely in that range; there's a continuous quest that characterizes our way of making music, repeated here too, a way entirely their own of reinventing and interpreting even the most easily assimilable things, as in this case. The dreamy atmosphere and the heartfelt voice that accompany us until the last seconds where we encounter a finale in their style, slow and well-defined sounds that bring out distinct sensations. Definitely worth multiple listens.

Yfirborð (Surface) – 4:20 The Lack- We've reached roughly the middle of the album and this piece captivates us with its particular composition. The structure doesn't entirely deviate from their classic style but it’s what enriches it that makes our ears perk up and eyes open. This is evident from the start when a distorted voice begins and starts a kind of plurality of melodies; from the second minute onwards, Jonsi's voice and melody are overlaid with a second rhythmic and pulsating base, contrasting the rather calm progression of the track. The result is a highly original, well-constructed work, not immediately comprehensible. 

Stormur (Storm) – 4:56 The Freedom- This song resumes the setting of "Hrafntinna," though less rich in sounds. The rhythm alternates from slow to more insistent at key points in a sequence that is seamless and spot on. The atmospheres take space amid the distinct and outlined voice and the background sounds of cymbals and bells. Personally, I consider it one of the most successful, devour worthy.

Kveikur (Wick) – 5:56 The Unease- This is the track that gives its name to the album, "Kveikur" is undoubtedly an unreleased track with a capital 'U' and the most representative track of the much-announced shift by the band, along with "Brennisteinn." Electronics combined with rock with inserts of voice and sound distortions. The convoluted and dark atmosphere leads the listener to lose themselves in the notes following the precise and incessant rhythm that fades into a few undefined sounds. A singular track, but of great impact and consecrating, if ever needed, our great ability.

Rafstraumur (Electric Current) – 4:59 The Joy- As with everything, there is always an exception to the rule. This is the case with "Rafstraumur," a track that immediately brings "Hoppipolla" to mind for the light and gentle sounds and the pure joy they emit. This contrasts with the darker nuances suggested by the entire work and further highlights this beautiful melody that makes our minds and hearts smile and reaches the soul, uplifting it.  

Bláþráður (Thin Wire) – 5:13 The Loss- The penultimate track refers to the duo "Hrafntinna" and "Stormur," simplicity of structure dense with atmospheres that take us by the hand and lead us among notes suspended in the air and virtuosity. Here, Jonsi's voice becomes the key instrument in a chase of notes that becomes at times more pressing, at times slower. The difference is made in the last minute; the sounds suddenly slow down and become regular, precise, and we return with them to the ground, with heaviness. To most, it might sound already heard, personally, I consider it among the best. 

Var (Refuge) – 3:45 The Nostalgia- The closing track is entirely played on the piano and is a clear surprise. Clear, spaced-out sounds, a very slow melody that's easy to listen to and well comprehensible. Three minutes to relax and reflect on the entire listening.