That’s followed by “Staralfur”, a song which for me is almost entirely coloured by its appearance in The Life Aquatic, a film I adore unconditionally. I’m a stone cold sucker for songs like that. It’s slow and heavy and still manages to fly by. “Svefn-g-englar” sounds uncannily like a post-rock song as far as tempo and arrangement, which I wasn’t expecting at all. The record is icy and immense, yet serene.įrom the start you know you’re in for a grand - if slow - ride. Hailing from Iceland, there is fittingly something quite glacial about it. Ágætis byrjun is apparently a critical darling, and it’s obvious why. I’d heard bits and pieces, but this was the first time I sat down and listened to a whole release of theirs all the way through. Sigur Rós are one of those groups that seems to have been around forever.
Layers upon layers of sensuous strings, steady soundscapes, and ghostly vocals combine to create an record that is impressive, yet frustratingly fatiguing. However, I’d argue 70 minutes of lush ambient art-rock does actually get tiring when it lacks variety. Not to be too scathing on a record that won the hearts of so many of its listeners in the early 2000s, and besides, it’s reassuring that there are people willing to listen to such a lingering amount of sweeping sounds. Meanwhile, “Vidrar vel til loftarasa” sits at 10 minutes long, for reasons that escape me. “Hjartað hamast (bamm bamm bamm)” is another anomaly in that sense, progressing naturally towards a groove that evokes peak ’90s Spiritualized. One of the reasons why “Starálfur” is one of the more memorable cuts on the record is because it’s far more immediate than the rest. There’s no doubting the sublime execution. If Sigur Rós lack anything, it’s the contrast in moods and tones. Their ability to conjure up beauty in minor details is what sets the band apart from their peers. Sigur Rós are known - and loved - for their expansive sound. Sometimes it works beautifully, other times it’s really quite draining. Sigur Rós are prone to prolonging sustained notes and drifting strings to excessive length. The opening buildup on “Ny batteri” is excessive to say the least, and it’s hardly the only case in point. I’m a patient listener, but the album occasionally tests me. However, I question whether the songs themselves live up to such an overwhelming atmosphere.
Ágætis byrjun is surrounded by a mystical, ethereal aura that stimulates the senses and triggers intense emotion. Whether Sigur Rós lived up to that initial promise is an intriguing debate, but I’m not so sure the blueprint was all too hot to begin with. Sigur Rós were, at a point, one of the most crucial bands at the beginning of the 21st century. By this point of course, fans were already sharing Ágætis byrjun on message boards - such was the time - but it was clear that something special was brewing. Once it landed on UK and US territory in the very early 2000’s, critics were keen to praise in emphatic and dramatic fashion. The release of Sigur Rós’ sophomore album caused quite a stir in the alternative and experimental music scene, some 20 years ago.
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