Icelandic stars “Sigur Rós” promise to give a concert in Riga in October

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The group, which has already visited Latvia almost ten years ago, informs that after a break of more than five years, they are going on a new world concert tour, which will start in both Americas in April, but will continue in Europe in the autumn. As the recording of the album is currently taking place in the studio, there is no doubt that the concert will feature both brand new compositions and a selection of the best-known 25-year-old material.

“Sigur Rós” was formed in 1994 by guitarist and vocalist Jon “Jonsi” Birgison, bassist Georg Holm and drummer Agust Gunarson, who were joined in 1998 by the only participant with musical education – keyboardist Kjartan Sveinson. In 2013, Kjartan and the group parted ways, but this year it has been announced that he has returned, which is undoubtedly good news for the group’s longtime fans.

The band’s discography began in 1997 with the album “Von”, but “Sigur Rós” gained wider attention, including international attention, with the second studio album “Ágætis byrjun” (1999). So far, seven studio albums have been released, and the band confirms that it is currently in its final eighth phase.

Critics typically rank the band’s music style in the post-rock category, but over the years it has gained the notion of ambitious music, drum rock and pop pop compared to associations such as Mogwai, Tangerine Dream and Bark Psychosis. The sound is described as classical and minimalist, but melodic.
The most recognizable business cards of “Sigur Rós” are Jones’ falsetto and guitar playing style, in which he uses a cello bow, as well as ascending string and orchestral parts, which are mainly the responsibility of Kiartan. The songs are mostly Icelandic, but some of them are written in Jones’ own Hopelandic language, which is basically a series of sounds.

Music viewers have often competed to find exciting epithets to describe the music of “Sigur Rós” and to highlight the high vocals of soloist and guitarist Jones. The artists themselves laugh at these sometimes over-syrupy ones: “an angel’s falsetto, which, like a hang glider, rushes to the seashore” or “like God crying golden tears in the sky.”

At the same time, they stress that leaving the homeland for a long time would be tantamount to “cutting the umbilical cord,” confirming that the great music they produced was directly inspired by the stunning topography of the environment. “It’s a wonderful place,” they tell of their homeland. “We have all these big uninhabited places with glaciers and lava. The sky in this country is so big.” 30 years.