Takk to Sigur Rós

It is an inarguable fact that Sigur Rós is the best Icelandic post-post-post-rock band to sing in a made-up language EVER. Seattlest was lucky enough to have floor seats at their sold-out show last night at the Paramount, and we were not disappointed. Far from it: the band flawlessly reproduced the lush, atmospheric sounds of their four albums, as lead singer Jón þór Birgissin, with his otherworldy voice, effortlessly hit high notes that Chris Martin only wishes he could reach. While Sigur Rós makes use of a lot of instruments---drums, guitar, bass, piano, xylophone, and glockenspiel, not to mention the string quartet care of opening band Amina---the most impressive is Birgissin sawing at his guitar with a violin bow, which is as weird and delightful to watch as it is to hear.

The drama of their music was underscored by the use of elaborate multimedia backgrounds, incorporating footage of creepy dolls, heat sensor images of an embracing couple, a sleeping infant's cherubic face, and "birds" of light which flew off and landed on a "wire." Shadows also played a key role, as Sigur Rós began and ended their set behind scrims, lit such that the band members' elongated figures were cast upon the thin fabric. The audience was hushed, respectful, and completely in awe of the performers. We found it funny how everyone would gasp and applaud at the opening notes of the hits, like "Svefn-G-Englar" and "Untitled #8" from That Album with the Parentheses. Personally, we were hoping to hear "Starálfur" and ( ) 's "Untitled #4," but whatever, we really can't complain---all in all, this was an ethereal, moving show, an experience unlike any other. We'll be sure to catch them again the next time we're in Reykjavik.