I remember waking up at the very beginning of 2007 on New Years Day, not suffering from a hangover (despite my body being 60% alcohol and 40% Marks and Spencer's Sausage Rolls) and the first video I watched on MTV2, whilst many of my friends were still sleeping was Sigur Rós' single Svefn-g-englar.
Obviously still under the effects of the night before, I was mesmerised by the truly moving music, the hauntingly beautiful vocals and strange but enlightening video, so much so that I immediately bought the album on Amazon, not really knowing what to expect but hoping for something similar to that wonderful video.
Since then, Sigur Rós have remained one of my most favourite bands. Although I only discovered them in 2007, they truly hit the big time with Hoppîpolla (aka the song played during every BBC sports and documentary montage throughout 2004) and have remained the best band to come out of Iceland that specialises in gibberish lyircs and bowed guitar.
Their sixth full length album finally saw release after a fashionable hiatus and, eager as ever, I had the thing ready for pre-order, hoping for some more creative goodness. I wasn't expecting the album to top Ágætis byrjun (for those keeping track, I'd consider that album a 10/10) but hoping for something in that range.
Valtari opens with a simplistic yet beautiful opener called Ég anda; the falsetto vocals have a whimsy, almost felt caught in a breeze sound. As the track continues, they begin to take shape (much like the rest of the music) before around the middle, the track builds up with an almost rock song bravado and morphs into a majestic opener.
Following that is Ekki mukk which begins with more haunting vocals, a slow build with screeching backing violins before it slightly pics up in the middle before ending on simplistic, striking piano chords. Varúð continues the theme of piano chords but transforms into a stomping, rocky track which is as close as Sigur Rós will possibly ever get to headbanging.
By this point, you´d think Valari would be your typical Sigur Rós album beyond ( ); enriched in minimalist traits with a key focus to progression and piano, but Rembilhnútur introduces a surprising addition in with electronic soundscaping and sampling that works so well, it may as well knock Hoppîpolla as the song of choice for montages that need a bit more clout.
Speaking of songs for advertising usage, following that is Dauðalgn, which probably has the most beautiful vocals of any Sigur Rós track...ever. Again, it takes the minimalist traits that make up a significant part of their back catalogue, but the vocal performance of Jónsi really sets it apart. Expect to hear this on a few trailers within the next two years, especially the final two minutes.
Unfortunately, Dauðalgn is also the unfortunate peak of Valtari. What follows from there is three tracks that ups the minimalism so the songs can showcase their individual traits, but the three never really extend beyond anything that's been brought forward by the band previously. Varðeldur serves as a point of recovery after the previous continuing blast of ethereal beauty, but never changes into anything particularly significant.
The title track is a slowburn affair, but the burning doesn't lead to anything. There's more screeching strings in the background, but the track is pure ambiance, apart from a brief tease in the middle to something more. Ending with Fjögur piano, the track takes as Ronseal approach (never did I think that would make it on this blog) by quite literally being four pianos that conclude the album. There's no vocals, a few moments with more strings, but it's a beautiful, satisfying yet strange conclusion.
What works with Valtari as a whole is that, once again; Sigur Rós deliver an album that contains all the hallmarks of what has made their back catalogue so redeeming. In simplest term; Valtari is imagination fuel, you can quite easily listen to it and be stuck for the near hour picturing wonderful images or in my case, using it for the soundtrack as I read A Dance of Dragons on my way to the rat race.
What the album unfortunately falters at is, after the five albums preceding it, it's almost by the numbers now. You get your awesome vocal performances by Jónsi, you get your string implementation taken up to eleven, there's even a track that flashes back to Ágætis byrjun with electronic influence and for a fan, it's great.
For those elsewhere that fall in the camp of either indifference or outright loathe the band; Valtari doesn't really introduce anything that hasn't been heard before so those traits or mannerisms that have put you off before, they're still here, in full force.
After a four year absence; Sigur Rós' return to the safe havens is a satisfying one. Whilst it's nothing new and once again, it's still doesn't match the awe of their second album, it's a fine addition to those who have enjoyed their previous work or those who want a musical journey that they may have taken before, but can't remember it running in this direction.
8/10
H
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