Nov 13th 2012
Tonleikarnir I Perth voru svakalega flottir takk kaerlega fyrir mig.
I have to say that the Icelandic artists Sigur Ros was awesome in Perth can’t wait to see them live again …hopefully in Japan …..
You guys were great! Would have preferred a few more of your great songs, but just to be there was an amazing experience. What a great venue! Literally could feel the sound vibrating through us. Flawless performance, would love to see you all perform in Iceland someday… well worth the venture up north!!!!!
Such a superb show guys, as reviewed below. Thank you!! http://themusic.com.au/reviews/reviews-live/2012/11/15/sigur-r%C3%B3s-belvoir-ampitheatre-aarom-wilson/
Sigur Rós, Dark Horses
13 November, 2012
Dark Horses’ music thankfully has nothing to do with Switchfoot or Nickelback, yet the Brighton-based upstarts still seemed a slightly odd choice to support the Icelandic greats. Still, it was perfectly timed, their debut album Black Music having just dropped and their Harvest set over east a few days prior getting tongues wagging. Their sound proved to have links to Sigur Rós’ as well, though with the more shadowy corners of their stable. Considering their drummer touts playing “Percussion/Chains”, you knew you weren’t in for a feel-good party. Whilst Sigur dance their darkness amongst a bed of light, these Horses trotted along much gloomier paths. Their tambourine-shaking, Swedish-born and totes babing frontwoman Lisa Elle shone in the dampness, her breathy intro to final track Rose – coupled with some rather hypnotic dance moves – proving these Horses are ones worth betting on winning more races, but not likely pure-breed thoroughbreds.
Whilst cheesy word puns might easily be employed to review a Dark Horses show, Sigur Rós are one of those few acts that really are difficult to describe. After all, it’s difficult to speak when you’ve had your breath stolen away. Such is the power of Sigur Rós’ mixture of ethereal, time-stopping, emotionally packed post-post-rock (see?), experiencing them reproducing it live should be on everyone’s bucket list. Mind, seeing the band for the first time at Perth Concert Hall and being so blown away that many have since hesitated seeing them again for fear of spoiling the mystical memory, locking in the similarly magical Belvoir Amphitheatre as venue coaxed this scribe to dare it. And thank goodness we did. From the glockenspiel intro to set opener í gær from Hvarf/Heim right through to the closing cataclysmic-like crescendos of the final song in their three-song encore, Popplagið aka The Pop Song aka Untitled 8 from (), Sigur Rós took the sold-out Amphitheatre on an exhilarating journey through blinding light and fragile shade, deafening peaks and truly beautiful abysses. There was perhaps a greater focus on the last few albums, yet inclusions of tracks from most came as more than a welcome relief to fans of their older material. One such highlight was from 1999’s classic album Ágætis byrjun, the sombre, entrancing Svefn-g-englar finishing with frontman/resident genius Jónsi Birgisson putting down his bow to sing into his guitar, his falsetto echoing through his guitar and floating through the venue with the ability to freeze everyone’s attention and command complete silence.
Sure there was a lack of greatest smile weapon Gobbledigook, a few filler song choices that led to a lag two thirds of the way into the first set and the performance’s impact seeming less for those who experienced their 2006 PCH show, but the combination of keys, drums, violins, trumpet, trombone, glock, xylophone, guitars, bass, voices and more meant the 11 people on stage formed into a powerful orchestra, capable of manipulating our emotions at will. Whether it was Jónsi’s bow shredding in set closer Hafsól, his humorously humble Icelandic intro to new gem Brennisteinn or his incredibly maintained vocal note halfway through Festival whilst stardust swirled on the screens behind, few sensible people could have left the venue without understanding that Jónsi, and Sigur Rós, are truly masters of the modern music age. And we haven’t even begun to discuss their revolutionary creation and mind-blowing live use of the Vonlenska language, aka Hopelandic…
Written by Aarom Wilson
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Hi Aarom Wilson,
I preferred this review from The West:
Tuesday November 13 Belvoir Amphitheatre
REVIEW HARVEY RAE
At one point during Tuesday night’s inspired Sigur Rós concert at Belvoir, on my way out of the amphitheatre for a refreshment I looked up and out of the corner of my eye thought I saw fireworks at the top of the venue. On second glance, I realised it was just a group of moths flying around a lighting pole at the top of the stairs.
That’s the best way I can think to explain the way in which Sigur Rós open your imagination to an unending world of possibilities. When you walk away, you’re bound to see things in a slightly different way. Their show is not just about a band performing live on stage. Every detail is carefully thought through, from the astonishing visuals that have you hurtling through a galaxy of stars one minute and smiling along with a child who has Down syndrome the next; to the meticulous live horn and string arrangements on a setlist that is spoilt for choice. This is rock music’s equivalent of watching Avatar in 3D. And then some.
Opening somewhat unexpectedly with Í Gær from the Hvarf/Heim double EP, from there Sigur Rós laid on a feast of their best known songs, from Untitled #1 (aka Vaka) to the incredible Glósóli, followed by the spellbinding Svefn-g-englar and a very epic Sæglópur.
In keeping with the theme of latest album Valtari, many of Sigur Rós’s uptempo, “pop” songs were sacrificed in place of their more epic, post rock moments. No Gobbledigook, but the pay off was in Ágætis byrjun 10 minute epics Viðrar vel til loftárása and Olsen Olsen, or the more recent Festival, which marked its midpoint ahead of a storming crescendo with lead singer Jonsi holding an exquisite falsetto note for what seemed like an eternity. The crowd rightly erupted in applause and the energy lifted for one of the night’s defining moments.
Only two tracks from Valtari made the cut, of which the stunning Varúð was the most remarkable, as it is on the album. A surprise came by way of Hafsol, from little known debut album Von, which closed the set. But an encore was never in question, with those in the know hanging out for the signature set closer Untitled #8 (aka Popplagið). The few who left early to avoid the traffic missed out on nothing short of a spectacle, with visuals flashing rapidly from one to the next as a wall of sound to leave Phil Spector quaking in his boots completed the sensory overhaul.
Earlier, mysterious UK act Dark Horses provided an appropriately atmospheric warm up, with distorted washes of guitar reminiscent of fellow Brits The Horrors and Esben & The Witch. The comparison with the latter continued to the witchy themes as well. At one point, charismatic lead singer and Swedish native Lisa Elle raised her hands in prayer to the heavens, in dedication to the upcoming eclipse. “We might not see it, but we’re sure gonna feel it!” she said. We sure did.
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