Sigur Rós - Kveikur

Sigur Rós - Kveikur

It would have been tempting for Sigur Rós to have capitalised on 'Hoppípolla' back in 2005/2006, having had it blast into the stratosphere thanks to some uninspiring usage from the likes of the BBC et al. Thankfully, Sigur Rós had the good sense to keep on moving in directions that were as confusing as they were interesting. And, while it's fair to argue that some of those pieces of music that followed have been a touch hit and miss, it's also perhaps missing the point to say that 'Kveikur' is a return-to-form. This, it would seem, is to suggest that Sigur Rós lost their way, and have returned to former glories. However, Sigur Rós have never really had a form to return to; 'Takk' is possibly their commercial highpoint, but it's a shining diamond in a bag full of creative rare stones. One can be assured that Sigur Rós have never been shy of 'creating'.

Last album, 'Valtari', was something of an enigma for a lot of folk; a welcome break from the perceived simplicity of 'Með suð í eyrum við spilum endalaust'. It was, though, something of a curious cul-de-sac; "where to go from there?" Well, as it happens, the place to be right now is in dark(ish) territory. They've not exactly shunned the brightness of their former selves (although, let's be honest, most things pre-'Takk' were sometimes a little cold), but there is a new sense of tormented wailing; a little smoke in their souls. Opener 'Brennisteinn' sets the mood for the entire album; distorted throbbing bass lines, Jonsi's soothing vocalisation, sparse drum patterns, subtle orchestration. It's classic Sigur Rós. Albeit fed through knackered speakers. Elsewhere, the mood is mostly subdued yet anthemic, akin to Radiohead's turn-of-the-century output (before they went weird for the sake of it and disappeared up their own arses). This is probably most keenly heard on 'Yfirborð', complete with lo-fi vocal effects and beats. Such down-beat sonics could become tiresome, so it's with relief that 'Stormur' ups the tempo and the feel to something closer to positivity. Sweetness abounds elsewhere in the decidedly 'Icelandic Joy Division-alike' sounds of 'Rafstraumur'.

All in all, this is an album to be embraced and enjoyed in a number of sessions; don't make your mind up prior to or on your first listen. That would serve this work an injustice. Forget what you think about Sigur Rós' past, what you believe is their high-point, and allow the ambience to take hold instead. You may find that this is your new favourite Sigur Rós album. Either way, it stands as a testament to the progressive nature of these musicians that we will always be surprised by their albums - mostly pleasantly - and in these days of predictability being the new selling-point, that can only be applauded.

Score: 9/10

Leafblade - The Kiss Of Spirit And Flesh

Leafblade - The Kiss Of Spirit And Flesh

It's been quite some time since Leafblade released their debut album (not counting the compilation 'To The Moonlight') - seven years in fact - which has built up some heavy anticipation for this, their sophomore effort. Casual fans will no doubt be alerted to the fact that Danny Cavanagh and Daniel Cardoso of Anathema fame appear on this CD. However, this is Sean Jude's baby and, along with Kevin Murphy (both ex-Valle Crusis), they are the true heart of this band. That's not to diminish the two Daniels in any way; their playing is subtle and appropriate and, along with the music itself, a thing of beauty.

I've had the pleasure of seeing Leafblade on a few occasions now (always as the duo of Sean and Kevin), and it was exciting to hear a couple of songs I'm used to hearing stripped-back live given the full band treatment. The essence of each song is the same - bolstered by Sean's poetic view to lyricism - but dynamically they are different creatures. Daniel Cavanagh's production skills really are taking shape, and he has become quite adept at allowing the music to breathe; the essential ebbs and flows. One thing that should be noted, since the release of 'Beyond, Beyond' back in 2006, is how the songs have developed from mostly, admittedly haunting, Celtic-folk to a combination of that style blended with rock bombast and dynamism. Some may see this as a return to the roots of Valle Crusis, but the tone and feel is far less foreboding, and far more uplifting than that. While billed as a progressive album, it may be tempting to mistake that for aping the classics of the seventies. And, while this does share the same love of vocal harmonies, swelling guitar melodies, and a sense that there is a greater thematic link (bordering on concept), this is progressive in the sense that it is quietly pushing modern song-writing into otherwise undiscovered waters. K-Scope too should be applauded for continuing to support forward-thinking musicians, striving to challenge listeners' perceptions; breaking down barriers between disparate musical genres. It's a truly exciting time to be a music fan, and Leafblade have joined the very best bands (Anathema, North Atlantic Oscillation, Ulver et al) in giving us music that will transcend age; becoming timeless.

Score - 9/10

Thrawsunblat - Wanderer on the Continent of Saplings

Thrawsunblat - Wanderer on the Continent of Saplings

Thrawsunblat, a self-proclaimed 'Atlantic-Canadian' band, released a very memorable debut album in 2010 called, rather helpfully, 'Canada 2010'. I won't go too much into that release here, as it will be reviewed, retrospectively, on this site soon. However, it was noticeable, songs aside, for featuring David Gold on drums. In fact Joel Violette, who's the project mastermind here, became a full-time member of Woods of Ypres. Sadly, David Gold passed away in late-2011, effectively ending Woods. Such tragic circumstances resulted in Thrawsunblat coming back to the fore with the announcement of their sophomore offering, which we have for review here; 'Wanderer on the Continent of Saplings'. Rae Amitay, another ex-Woods member, takes the drum stool; and does a fine job of weaving blasts to traditional metal beats, to folksier rhythms. And it is the blending of these styles that makes 'Wanderer...' a fascinating listen. In fact two songs in particular rely solely on shanty/folk styling; 'Goose River (Mourners' March)' and 'Maritime Shores'. While they are unlikely to get a spot at the Cambridge Folk Festival any time soon, Joel does a neat maritime-drawl, which should gain sage-like nods from bearded pipe-smokers the world over. However, I digress; this is a metal album at its core, and is cast in the die of progressive post-black metal (for you genre fans). Vocally it's satisfying to hear an even mix of growling rasps and clean singing outside of the usual metalcore setting. Lyrically, there is a loose concept embraced throughout the album concerning, to my ears, our personal identity in the world; the heartache of coping with death; and the reflections on nature and our removal from a way of life conjoined with it. Perhaps I'm way off though. Musically, the guitar playing too is nicely executed. Imaginative and layered in its rhythms, there are plenty of tasteful harmonies too snaking through each composition. The production is beautifully crisp, and a fine job has been made of the mastering (something I was worried about, having seen a screen-shot of the wav files recently). Happily, there are no clips or distortions through my headphones, which is a mean feat these days. Despite the black metal DNA running through their veins though, it's never apparent that you're listening to a black metal album. It's certainly extreme in places, and there are tremolo-picked passages that evoke a blackened feel, but the majority of the time is spent in the company of melodic brutality. Thrawsunblat should be applauded for not falling foul of the troublesome second-album syndrome.

Score: 8.5/10