Sigur Ros returns after 10 years, and the results are mesmerizing.
’ music first began filtering over to these shores at the turn of this century — maybe on Napster or Limewire after Radiohead’s Thom Yorke began mentioning them in interviews, or on a burned CD from a friend who had one of their hard-to-find-even-in-metropolises imports.
Hearing them for the first time was like taking a voyage to a different musical planet, guided by a vocalist named Jonsi who sang in both Icelandic and an invented language over lush, towering, majestic music that evoked National Geographic landscapes and summoned purple prose from critics even more pretentious than the line you just read.
The group reached a commercial peak of sorts with 2005’s “Takk” and its “single,” “Hoppipola,” which has gorgeous melodies and a gloriously triumphant coda, and could have been a monumental film song if it’d had a more conventional vocal, let alone lyrics in a known language — not that their unconventional style has held them back in that category, as their music has been used in dozens of films and television specials .
“Atta” is the group’s first album in ten years, but within the first minute you’re immediately drowning in one of the most glorious Sigur Ros soundbaths to date — a soaring, swelling orchestra with a distant choir-like sound and a backward, sped-up voice flitting wordlessly.
Nor are you really sure when it’s over — but like the group’s best work, its amorphous and vaguely defined nature makes it something you can explore again and again and still find something you hadn’t noticed.
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