Sigur Ros is a disease to modern music. The definition of a band elevated by audience stupidity. So of course, I bought tickets to see them live in London.
And there I was, trying my darndest to get sucked into those lush, glacial synth layers, dense with orchestral ambition, as colourful arena lights and ambient fog bend around them with a melodramatic aesthetic and they begin another ghostly shimmering march that thunders louder and fuller until the elements come together into some cosmic triumph. It's the perfect formula to create artificially satisfying sounds of sentimental buoyancy. It's beautifully crafted and really hard to hate.
Indeed, it's hard to find any critical platform from which to approach it at all. For a group that pretends to be not of this world, they exist behind a wall of self-serious whitewash and starry-eyed reverence which appears perhaps a careful hoax that aims to create a heavenly image of them, immune to earthly pollution. But that sort of pretension does not offend me. Pretending to be authentic does. And any band that uses a romanticized concept to remove themselves from critical dissection evades a more faithful agreement between the artist and the audience - that naked line between creativity and manipulation. The one that allows me to embrace artists, and allows their art to represent us.
Because this is really the bloodless corporate rock of Coldplay made abstract by sonic theatrics to compensate for a musical identity which carries no social relevance. Where is the anger? The hunger for emotional catharsis? The daring to offend? The lyricism that challenges the conscience of our time? A time when every ingredient of our lives seems so irredeemably commercialized, so what could be more important than being authentic?
As they begin another song, images of sky, children, and fertile mountainsides play on an impressive lifted stagescreen as fake rain and snow fall from the flies. I hear xylophone arpeggios and and ebowed guitars imitating soaring cellos as how-do-you-pronounce-his-name croons like a wounded goat of elusive gender in a made-up language. People are suddenly inspired to hug one another like some life-affirming cult. I imagine there's a special place in hell just like this - some mock-up, simulated paradise where everything is an interminable circus of glockenspiels and pan flutes, amputated of conflict and purpose. Where you watch fawns gambol amidst horny sylphs in a saccharine nature, florid and borderless but somehow inorganic, as you lie placidly engorged on confectionery before over-caffeinated gnomes leap out of the underworld to tear at your soul until that final paralyzed heroin surrender.
The show ends and I'm covered in the confetti that showered the climax of their last song. We've been treated like people who want cheesy, overblown, emotionally facile, ornamental pabulum. It all quickly evaporates. But I look around at everyone slack-jawed and teary-eyed, keeling at what must have been the most powerful experience of their lives. And I'm left with a feeling that says music sure can be more than this. I fucking hope we need it to be, too.
And there I was, trying my darndest to get sucked into those lush, glacial synth layers, dense with orchestral ambition, as colourful arena lights and ambient fog bend around them with a melodramatic aesthetic and they begin another ghostly shimmering march that thunders louder and fuller until the elements come together into some cosmic triumph. It's the perfect formula to create artificially satisfying sounds of sentimental buoyancy. It's beautifully crafted and really hard to hate.
Indeed, it's hard to find any critical platform from which to approach it at all. For a group that pretends to be not of this world, they exist behind a wall of self-serious whitewash and starry-eyed reverence which appears perhaps a careful hoax that aims to create a heavenly image of them, immune to earthly pollution. But that sort of pretension does not offend me. Pretending to be authentic does. And any band that uses a romanticized concept to remove themselves from critical dissection evades a more faithful agreement between the artist and the audience - that naked line between creativity and manipulation. The one that allows me to embrace artists, and allows their art to represent us.
Because this is really the bloodless corporate rock of Coldplay made abstract by sonic theatrics to compensate for a musical identity which carries no social relevance. Where is the anger? The hunger for emotional catharsis? The daring to offend? The lyricism that challenges the conscience of our time? A time when every ingredient of our lives seems so irredeemably commercialized, so what could be more important than being authentic?
As they begin another song, images of sky, children, and fertile mountainsides play on an impressive lifted stagescreen as fake rain and snow fall from the flies. I hear xylophone arpeggios and and ebowed guitars imitating soaring cellos as how-do-you-pronounce-his-name croons like a wounded goat of elusive gender in a made-up language. People are suddenly inspired to hug one another like some life-affirming cult. I imagine there's a special place in hell just like this - some mock-up, simulated paradise where everything is an interminable circus of glockenspiels and pan flutes, amputated of conflict and purpose. Where you watch fawns gambol amidst horny sylphs in a saccharine nature, florid and borderless but somehow inorganic, as you lie placidly engorged on confectionery before over-caffeinated gnomes leap out of the underworld to tear at your soul until that final paralyzed heroin surrender.
The show ends and I'm covered in the confetti that showered the climax of their last song. We've been treated like people who want cheesy, overblown, emotionally facile, ornamental pabulum. It all quickly evaporates. But I look around at everyone slack-jawed and teary-eyed, keeling at what must have been the most powerful experience of their lives. And I'm left with a feeling that says music sure can be more than this. I fucking hope we need it to be, too.
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