Sigur Rós are set to perform at Melbourne’s Margaret Court Arena this September. Ahead of their visit, the Icelandic group have released a poignant statement about her recent discriminatory comments regarding same sex marriage.
Citing their own country’s acceptance of gay rights including same sex marriage, they pointed out that Jóhanna Sigurðardóttir, Iceland’s then-Prime Minister, was the world’s first openly gay prime minister and among the first to marry under Iceland’s laws. Iceland has recognised same sex partnerships since 1996 and same sex marriage since 2010.
They went to acknowledge that they “know Margaret Court’s opinions are not shared by the majority of Australians,” and that “Australia should be a country that celebrates positivity and inclusion, as well as achievement on the sporting field.”
Sigur Ros will also be selling a special edition t-shirt during their Australian tour, with proceeds going toward supporting marriage equality in Australia.
Read the full statement here and check out the tour dates below.
Dear Melbourne,
Since we formed Sigur Rós some twenty years ago, we have been lucky enough to visit Australia seven times. We’re very much looking forward to our eighth visit this July.
We are currently in the middle of our worldwide tour, playing more than 130 shows and visiting 39 countries. Along the way we have played some of the world’s finest venues, and we’re finishing with a residence at the Harpa Concert Hall in our home town of Reykjavík, Iceland at the end of this year.
Our next Melbourne show is set to take place on July 27th at Margaret Court Arena. Our fans and friends have made us aware of recent comments by Margaret Court regarding her opposition to Qantas’s support of same sex marriage in Australia, and her wider views on race and sexuality.
Iceland is a country where same sex partnerships have been recognised since 1996, and where same sex couples have enjoyed the same adoption rights as straight couples since 2006. Same sex marriages were unanimously approved in our parliament in 2010 (our then prime minister, Jóhanna Sigurðardóttir, was the world’s first openly gay PM, and one of the very first Icelanders to be married under this legislation). We are also happy to say that since 2008 the Church of Iceland, and all other religions, were officially granted permission to bless same sex unions.
We know Margaret Court’s opinions are not shared by the majority of Australians. We want to add our voice to the call for marriage equality in Australia —right here on Margaret Court Arena itself. Australia should be a country that celebrates positivity and inclusion, as well as achievement on the sporting field.
We’ve decided to commission a special tee-shirt for this Melbourne show, which we’ll also sell at our Sydney show and at Splendour in The Grass, proceeds from which will go towards support of Australian Marriage Equality.
Let’s make July 27th Margaret Court Arena’s most inclusive night ever and call for every Australian to have the same dignity and respect right here on centre court.
Takk fyrir,
Sigur Rós
Sigur Rós Tour Dates
Tue 25 Jul: Hordern Pavilion, Sydney
Thu 27 Jul: Margaret Court Arena, Melbourne
Image: Supplied
BBC’s Planet Earth documentary series has returned for a second season, a full decade after the phenomenal first series was released. The new episodes are also set to be narrated by Sir David Attenborough, and on the soundtrack front they’ve enjoyed a little soundtrack help from Sigur Rós. The Icelandic group initially lent their Takk standout piece Hoppípolla to the first season, which was released ten years ago. They have now recorded a brand new version of the sprawling, atmospheric opus for the second season, which will make its way to Australian TV in 2017, and is available now on BBC iPlayer if you can access it with a VPN.
The band gave a statement on the BBC website, explaining the inspiration for the new version and working with the documentary series, highlighting the natural beauty and wonder of heir native Iceland: “In Iceland we are blessed with a seemingly inexhaustible supply of wild and untamed places. But even here, in the very furthest flung corners of Europe’s largest wilderness, the scars of human industry are visible, the plans for future encroachments, by dam and smelter, legion. If lost the Icelandic highlands are not recoverable. Around the world the story is the same; the traffic, literally, going in one direction. Sigur Rós are proud to be associated with Planet Earth II and its all-important mission to hold us rapt in understanding of, and respect for, this endlessly fascinating, utterly surprising and ultimately fragile place we are lucky enough to call home for a short while.”
Listen below.
https://youtu.be/ycqk0gfpyxQ
Image: Twitter
Despite having a pretty comprehensive world tour planned and underway already, Icelandic post-rockers Sigur Rós are already looking forward to next year. Their US tour is planned over September and October, but in a recent announcement it was revealed that the band will be returning to LA in April of 2017 to play three shows with the LA Philharmonic Orchestra as part of their Reykjavík Festival. It will be the first time that the band has played with an orchestra since their unreleased work Odin’s Ravin Magic all the way back in 2003.
https://www.youtube.com/watch?v=Bz8iEJeh26E
The shows have been advertised to include a number of fan favourites, with the band stating that they will be “career-spanning sets” with orchestral accompaniment. They will also showcase a selection of new and unreleased music without the accompaniment of the orchestra. Each of the performances will be preceded by a “different symphonic and choral program.” The details of said program on the first night have been revealed to be a premiere performance of Daníel Bjarnason’s newest violin concerto. Bjarnason has previously worked with Sigur Rós on their Abbey Road sessions of the Með suð í eyrum… album, where he conducted the session on Ára Bátur.
The shows will be performed at the Walt Disney Concert Hall on April 13, 14 and 15 in Los Angeles. Patron tickets are available here, and general tickets go on sale August 28th. Sigur Rós have just enjoyed a visit to Australia capped off by a hugely emotional performance at this year’s Splendour In The Grass.
Image: Mike Sosin.
Icelandic post-rockers and part-time whale impersonators Sigur Rós have just launched their own app. The free “Route One” app, available now on the Apple Store, promises to interpret and evolve the sounds of their latest single Óveður to give a unique listen each time it’s played.
Apparently the app uses the same technology (dubbed “Bronze”) that was used to generate the soundtrack to the live Route One broadcast the band held earlier in the year featuring stunning shots of scenic Iceland. The app is now fully and freely available over at the iTunes app store, so check it out!
Speaking of the Route One broadcast, Sigur Rós have also released the full video of their 24-hour “Slow TV” event over on YouTube 360. The Route One broadcast was a drive around Iceland’s ring road, which encircles the Scandinavian country.
https://www.youtube.com/watch?list=PLze65Ckn-WXZpRzLeUPxqsEkFY6vt2hF7&v=ksoe4Un7bLo
This may actually be the longest 360 video released thus far and it’s a pretty cool concept. You can find the videos on the band’s site here, or check it out below. It’s quite a relaxing watch, so you could put it on in the background and work to the airy and otherworldly sounds of Sigur Rós. It’s guaranteed to be music you’d never heard before, no matter how much of a fan you are of the band.
It’s also the perfect road trip soundtrack if you’ve got a long drive ahead of you on your way to catch Sigur Rós for their only Australian show at this year’s Splendour In The Grass.
Image: Rúv
Icelandic ambient maestros Sigur Ros have returned with their first new music in more than three years.
https://www.youtube.com/watch?v=p4rf-C_smLs
The band are currently on a world tour, and have reportedly been opening their live shows with Óveður, having premiered the track at Primavera in Barcelona. Sigur Ros are heading to Australia next month to perform at Splendour in the Grass in Byron Bay. While no official news of an album has been announced, the band will be performing more new material as well as older favourites.
Image: Supplied
Sick of the fast pace of the world we live in? Want a break from it all to travel to a far away place of beauty and wonder?
If the answer is an affirmative ‘yes!’, then take some time out and tune in to Sigur Rós’ stunning 24-hour live stream showcasing their beautiful home of Iceland. In what is called One Route, we’re treated to some of the breathtaking Scandinavian nation’s landmarks as we travel along the Icelandic coastal ring road. Some of these include natural wonders such as the Fjords of Eastern Iceland; Möðrudalur, which is Iceland’s highest farm settlement; Europe’s largest ice cap known as Vatnajökull and Jökulsárlón, which is a glacial lagoon in Southern Iceland.
To add to the calming effect of the virtual journey, a gorgeous soundtrack plays in the background. The music has been created by generative music software and uses elements of the band’s newest track Óveður, meaning the sounds are constantly changing as the images do. You can also commiserate about how you’re presently anywhere but Iceland with the many other viewers from across the world in the stream of comments beside the video.
You may be asking, why are Sigur Rós doing this?
“In a day and age of instant gratification and everything moving so fast, we wanted to do the exact opposite,” says Sigur Rós’s vocalist and guitarist Jónsi Birgisson. He continues, explaining, “Slow TV is counter-active to the world we live in, in that it happens in real time and real slow.”
In other Sigur Rós-related news, they are slotted in to participate in a refugee benefit compilation Oxfam Presents: Stand As One – Glastonbury Live 2016, following the murder of British MP Jo Cox. The digital release of Stand As One will be up for grabs on July 11th in an effort to raise money to help refugees, which is a cause Cox was incredibly passionate about. Chvrches, Foals, Muse and many other artists are also involved with the project.
So if you’re looking to simply chill out and treat your eyes and ears for a bit (or ’round the clock), Route One is playing right now on YouTube as well as Iceland’s RÚV 2 channel, on the 20th and 21st of June. Tune in below:
https://www.youtube.com/watch?v=pU3TYFSNybg
Image: Supplied
With Barcelona’s Primavera Sound boasting an incredible line-up including Radiohead, LCD Soundsystem, Sigur Rós, Tha Avalanches and Tame Impala among with hip-hop artists Pusha T, Action Bronson, Vince Staples and so much more, you know something special is bound to happen. Well, to brighten up your day, the Icelandic boys from Reykjavík, Sigur Rós, came through with the goods last night, performing a brand new and enchanting song entitled Óveður.
Following the recent updating of their live set, showcasing a light and visual show, as well as cutting back to just the three core members with no backup, there was no better way to debut this track. Opening with haunting ambient wails, singer Jónsi soon jumps in with his leading falsetto vocals, an amazing contrast with the down-tempo dark and grim background.
An amazing ride, the song changes shape once more as a huge thudding bass line comes in, followed by an even more ethereal chant from Jónsi sure to send shivers down your spine. The simple contrast between the mysterious, gritty textures and trembling piano tones really create something special which you just need to hear.
Unfortunately all we’ve got is some fan filmed footage at the moment, but thanks to the track’s warm welcome, a studio recording of the track is bound to appear sometime in the near future.
If you’re lucky enough to have tickets to this year’s Splendour In The Grass, make sure you catch Sigur Rós as they perform on Sunday, the closing night, for their only Australian show.
For further reading, checkout our Flashback Friday on Sigur Rós’ second album, Ágætis byrjun.
https://www.youtube.com/watch?v=zA71n2uZVEM
Image: Rolling Stone
It’s no secret that music can be emotional. Music can be used to tell a story, to capture an emotion as it is felt, and to make others feel as the musician felt. It can be used to intensify a feeling, a mood.
Post-rock is a genre that knows this, and harnesses it to its full advantage. The long, sweeping tracks lend themselves to comparison with classical music, but the heavy distortion that wraps many of the guitars ensure that post-rock is something truly unique. It’s classical music structure with modern instruments.
The emotions mostly present in post-rock are, as angsty as it sounds, anger and sadness. But not the clichéd, on-the-nose sadness and angst in other genres. Post-rock is more nuanced, subtler. The lack of lyrics in much of the genre means the emotions have to be conveyed through the music. This makes the emotions felt much more intense, much more personal. And much, much more devastating.
Here’s three of our favourites.
Killing All The Flies, by Mogwai
Probably the most devastating track for me personally, this track had me break down crying in the middle of a street last year. There is something about the vocoder wailing combined with the sheer power of the instrumentation that packs a massive punch. Starting from a single, almost silent guitar, it slowly builds, but holding back. Mogwai have always been great at restraint, and Killing All The Flies is no exception. There’s pain the singer’s voice, so when he finally gives into the instruments, the impact is flooring. Listen to it below, and be prepared to feel something truly special.
https://www.youtube.com/watch?v=kjDSAz6BpNk
Ágætis Byrjun, by Sigur Rós
Sigur Rós’ Icelandic vocals on this track pull the focus away from the instrumentation, but Jónsi’s melancholic wailing thinly veil depressing thoughts. Coming towards the end of the band’s most famous (and arguably best) album of the same name, Ágætis Byrjun is an ode to the type of sadness that comes with exhaustion. It’s a beautiful track, and you can listen below.
https://www.youtube.com/watch?v=Hrq7ffdV1ro
Challenger Parts 1&2, by We Lost The Sea
We Lost The Sea’s latest album Departure Songs is a phenomenal album from start to finish. It’s their first instrumental record, coming after they lost their lead singer Chris Torpy to suicide. They wrote the album off the back of tragedy, and they created something beautiful. I can’t recommend the album as a whole enough, but the two closing tracks are the ones that standout for me. It’s safe to assume that the majority of the western world is aware of the Challenger Disaster, the largest failing of the United States Space Program, where 7 brave men and women lost their lives. Challenger (both parts) deal with this disaster. The first part is the more substantial of the two, clocking in at just under 24 minutes. It opens with quotes from William S. Burroughs on dreams, with an unsteady drone behind. The tension in palpable; you know this isn’t going to end well. And it doesn’t, but it also ends perfectly. The tail end of part one is defined by the heavy distortion, thick with frustration. It’s reminiscent of a shuttle launch in power, and the finale of the track is audio from directly after the disaster, with onlookers expressing their disbelief. “They were here and now they’re gone,” one woman repeats, grief pouring from her voice.
Part two is a more personal track, written by the band in part as an encore to Challenger Part 1, but also as an epilogue to the album as a whole. It’s quieter, a reflection on the brave sacrifices of all the stories laid out in the past hour of music. The closing of this track still gives me chills, and I’ve listened to it so many times I’ve lost count. Reagan’s speech following the disaster is a powerful and haunting reminder that humanity is flawed, and progress comes with risks. I challenge anyone to not feel something, anything, when the silence sets in following his speech.
https://www.youtube.com/watch?v=bdSSGh7WbDA
Image: Wikipedia
Five years before I began listening to Sigur Rós, I read somewhere about a doctor who installed cochlear implants on children and adults, allowing them to hear for the first time in their life. After he had made his surgery room entirely silent, he would switch the device on for the first time. He would press play on a song from a strange band. “If I were deaf, this would be the perfect introduction to sound for me,” he reasoned. Some of the words are in Icelandic, some Hopelandic (a language made up by Jónsi Birgisson). The song was Svefn-g-englar by Sigur Rós, from their second album Ágætis Byrjun. It was released in 1999.
Four years after I began listening to Sigur Rós, I am unable to sleep. The next day I will gather up the courage to ask the girl who would be my first girlfriend out on a date. Being an awkward, clingy 17-year-old, I am petrified at the possibility of rejection. I’m on the verge of canning the whole dumb idea. Ágætis Byrjun’s title track fans around my bedroom. I am hypnotised. Ágætis Byrjun, in Icelandic, means ‘A Good Beginning’. Under that sincere, untroubled xylophone, we are living a dream, briefly. On Olsen Olsen, Jònsi’s beatific mantra drenches us over that gorgeous, understated, winding guitar, and we are fine for a while. The marching band fades.
[youtube http://www.youtube.com/watch?v=BEpbnHO-ZGU]
Eight years after I began listening to Sigur Rós, the heartstopping climax of Hjartað hamast is consumed by a distorted wave of feedback somewhere over the English Channel on a flight from Bristol to Amsterdam. This album makes the world around me feel like something else entirely. Viðrar vel til loftárása’s plaintive piano flickers into view to soundtrack a most breathtaking sunset. Its title translates: ‘Good Weather for an Airstrike’. Avalon, a barely-there drone/ambient piece, makes me laugh and cry at once. I couldn’t say why. This album feels alien to me, but it feels like it has been there from the start. There is not a worry in my mind. I am alone, and this is a happiest memory.
Nine years after I began listening to Sigur Rós, I am really fucking cold, standing awkwardly outside your house. The cab that will take me home should arrive soon. Starálfur plays through my headphones. Scarcely have I felt so perfect and so hideously ugly as this. It sounds like the first day of spring. It’s a song for a sunny day; it reminds me of when the light reflects off a river. Wistful strings enmesh with a playful trumpet fanfare and I still see you there, smiling. I ask the cabbie how his night’s been. Ný batterí sounds like destruction. Probably more apt for how I feel. Jónsi Birgisson plays his guitar with a violin bow, summoning a beautiful maelstrom, equally ethereal and demonic. Georg Hólm’s bass guitar throbs like a heart murmur. Ágúst Ævar Gunnarsson’s cymbals clatter and crash like the oncoming apocalypse. I didn’t want it to end, but it had to. I pay the driver more than I should and clamber into bed. I am enveloped by Svefn-g-englar’s droning wall of guitar.
If I ever lose my hearing, I’ll hear Ágætis Byrjun.
[youtube http://www.youtube.com/watch?v=rtemrZ7-pj0]