Review Summary: Due to the band's willingness to use unorthodox ways of conveying storytelling and dynamic instrumentation, the interpretation of the cold and desolate ( ) will undeniably vary from person to person and this is what makes it special.
Everyone listens to music for different reasons. Whether it be to feel, be entertained, experience storytelling in audio form, or an amalgam of all three, these reasons exhibit how this form of art also happens to be one of the most versatile out of the many forms of art. All forms of art are usually meant to be ways to express ourselves in ways that words often can’t. The most prominent way to convey these specific types of feelings certainly would be painting; excreting a form of emotion onto a piece of paper to feel while at the same, actually having something to say. This proves to be what painting and post rock have in common due to the typical lack of words, but instead delivered for the ears rather than the eyes. However,
( ) is an undeniably perplexing case because this album contains lyrics, but the catch is that they’re complete nonsense, an entirely made up language made up of mindless syllables. On paper, this sounds like an incredibly unorthodox idea and truthfully, it actually is. Surprisingly, this aspect put side by side with Sigur Ros’ subtle ambient style, the band’s coveted “hopelandic” language not only has something to say, but makes the listener feel a profound sense of immersion. Coupled with Jonsi’s powerful delivery and the band’s dynamic instrumentation, this album truly breathes life into the nonsensical yet ironically meaningful recurring phrase “you sigh lo.”
The Kid A like keyboards opens up the album to a very cold and emotional atmosphere that, for the most part, never lets up throughout the album. Jonsi proclaims what easily sounds like “you sat along the fire” and the beauty of it is, another listener may not hear the same thing. It really sheds a new light about how music definitely is open to interpretation from person to person. Due to his beautifully delivered falsetto and the subtle buildup of the piano, “Untitled 1” immediately sucks the listener into its dense atmosphere like a vortex and its grip never lets go. The journey continues into “Untitled 2” in a different manner with the euphoric guitar work being the driving force. It brings to mind walking in a blizzard during a cold winter day due to its bleak atmosphere. At evidenced here, the piano and Jonsi often play the most essential roles on this album because although this album does contain some enlightening moments, this is a desolate, wistful experience, and his falsetto coupled with the atmospheric piano melodies help bring out these types of emotions. If that isn't displayed in “Untitled 3” than I have no idea what would. However, whatever type of wistful, sorrowful story this album is trying to tell is often to you.
After the fairly uplifting guitar driven epic that is “Untitled 4,” the second half of the album proves to be no laughing matter due to the increasing frigid and minimalist nature of it all. Jonsi’s painful falsettos showcase an extreme longing or sadness in “Untitled 5” and combined with the trippy psychedelic delivery of all of the instruments, this track makes for a without a doubt transcendent experience. The same can be said for “Untitled 7” which happens to be one of the longer, more guitar driven epics of the album. Jonsi and the immense subtlety of the guitar have perfect chemistry and this is the mesmerizing quality that helps move this thirteen minute epic along. Truthfully, it does begin to drag a little bit towards the end, but what’s to come makes up for it with a flying explosion of colors.
Of all of the expansive tracks that are on here, the most affecting ones are without a doubt “Untitled 6” and “Untitled 8.” Both of these tracks leave a lasting impression in different manners and “Untitled 6” is without a doubt the more beautiful impression. Along with brooding drumming and the compressed nature of the guitar, Jonsi delivers a deeply moving performance that leads up to him exclaiming “you sigh hey” in the most grandiose, tear jerking way possible. As soon as the yin and yang combination of the piano and bowed guitar comes in, all would become clear. The deep, compressed delivery of the guitar and uplifting piano melody perfectly contrast each other because it could easily be compared to a life of being happy on the outside, but on the inside, there’s a hard hitting burning feeling.
Though “Untitled 6” is undeniably a highlight, “Untitled 8” is undoubtedly a testament to what post rock can do and the payoff is nothing short of astounding. The beautiful guitar tone gives way to the psychedelic wall of sound that really moves the listener. Jonsi completely sums up the rest of the record with his moving way of singing the recurring phrase of “you sigh low” in the verses and choruses. Surprisingly to the listener, the song quickly becomes one of the most chilling, hard hitting post rock songs ever recorded due to the ominous drumming and disturbing atmosphere. The change is about as abrupt and unpredictable as it comes, but in the best way possible. The shredding effect of the bowed guitar closes out the album in grand, truly unbelievable fashion and once it’s all said and done, the listener will be at a loss for words. It’s an evocative behemoth that expertly brings to mind about how happiness in life can easily turn into anger and anguish unfortunately.
Aside from “Untitled 7” dragging a bit too long, the album exists as one of the most important post rock albums ever recorded and expertly sums up what post rock and music as a whole is meant to do. Coupled with its unusual idea of using a made of a made up language at its lyrics and the band’s performance as a whole, this whole thing makes for an extremely versatile, dynamic listen. What it really comes down to is that
( ) exists as a different experience for everyone and whatever story this album is trying to tell is completely up the listener. Literally, nothing on this album has a name and as a whole it doesn't even have a title. That’s because Sigur Ros didn't make this album for themselves: They made it for us.
