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Sigur RosTakk EMI Given enough encouragement, a dog could review Sigur Ros. All you'd have to do is set up a bit of a template, put out a series of adjectives on cards - "glacial", "majestic", "ethereal", "atmospheric", "icy", "graceful", "shimmering", "soaring", "translucent" and so on - and let Rover stick 'em in order. Try it yourself: "Iceland's _________ Sigur Ros return with their brand new 'Takk', another slice of _________, _________ music, filled with _________ guitars, _________ strings and the occasional deft touch of _________ electronics. The opening Glosoli sets the scene with _________, often wordless vocals atop a bed of _________, _________ instrumentation. It's hard to pick favourites as the album works so perfectly as a piece on its own, but Sa Last, Gong and Sushljatt all have moments of particularly _________ beauty." See? No matter what Fido picks, it's a perfectly legitimate review. And that's not a criticism - it's a genuinely beautiful record - but a consequence of the fact that 'Takk''s only point of critical reference is, well, other Sigur Ros records. There are moments on 'Takk' that make the atmospheric likes of Mum sounds like Gwen Stefani by comparison, tied as they are to pop ideas like "individual songs" and "lyrics" rather than "movements", or "enormous slabs of sound falling majestically like glaciers in a gulfstream". It's a record that demands attention, but Rex and I concur that 'Takk' is definitely going to be the most _________ album you'll hear in 2005.  |
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