Sigur Rós has never been the type of band that's easily labeled. In fact, there are many words that I find myself thinking up to try and describe Sigur Rós' signature sound. Is it atmospheric? Orchestral? Sparsely layered? Chamber music? Icelandic folk? In the end, the only word I felt was worthy of describing Sigur Rós was this: Ice.
There is something chilling about a Sigur Rós album that just doesn't compare to other albums out there, especially since the band often gets lumped with the fairly standard indie rock acts in America and Europe. They stand out as an anomaly, and that's exactly why their music outshines anything that tries to come close. Comparing them to other similar acts is like comparing St. Louis winter slush to the thick, lush winter snows of Upper Peninsula Michigan in January. Which one would you rather drive your snowmobile on?
Sigur Rós' latest release, Hvarf-Heim, is a two-disc CD set that could have easily fit on a single disc, but is split in half for a reason. The first disc, Hvarf (meaning "disappeared") takes some of Sigur Rós' rarities and outtakes and finally puts it together on one disc, but most of the songs on Hvarf are fresh and original, even for the hardcore fan. Two of the tracks on Hvarf are songs from their first album Von that are completely reworked to fit into the band's more recent aesthetic. The second disc, Heim (meaning "home") has acoustic live versions of some of their most popular songs haunting presence. It's about time we hear Sigur Rós in a fully acoustic setting, and Heim doesn't disappoint.
Hvarf-Heim is the perfect companion album to follow 2005's Takk..., which is arguably Sigur Rós' most complete and accessible album to date. Luckily, Hvarf-Heim is just as accessible, and in many ways, the music is strong enough to stand alone as a full-length album.
On the Hvarf disc, Sigur Rós kick us off with "Salka," a song that, until now, has only made the round in their live shows. "Salka" fits more in line with their recent style; it is more finely tuned and layered, unlike Sigur Rós' 2002 release which was sparse and overreaching. Tracks like "Salka" and "Hljómalind" fit where we expect them to fit, and they reflect an extension of Takk... and Sigur Rós' focus on form rather than atmosphere.
"Í Gær," on the other hand, is loud and in your face. The song starts out with a subtle orchestral motif, and then the electric guitars start off with enough reverb to fill a snowy castle. Drummer Ágúst Ævar Gunnarsson pounds away, switching between ride cymbal, snare and bass drum on top of a swirling organ. "Í Gær" isn't the only track on the Hvarf disc that comes at you full force--"Hafsól" begins with a singular, tapped bass guitar note, and builds with loud reverberating guitars and jazzy drum beats.
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