In January 1994, three young musicians gathered in a small room in Reykjavík, Iceland, and named their new band after a flower that had bloomed just days before their formation. Jón Þór Birgisson, Georg Hólm, and Ágúst Ávar Gunnarsson chose the name Sigur Rós, meaning Victory Rose, to honor Jónsi's younger sister who had been born only a few days prior. This personal connection would become the foundation of a musical journey that would eventually span three decades and transform the global perception of Icelandic music. The trio signed with Bad Taste, a label owned by the Sugarcubes, because the label executives believed their falsetto vocals would appeal to teenage girls. This initial commercial calculation would prove to be a fortunate accident, as the band's unique sound would soon transcend any demographic targeting. By 1998, keyboardist Kjartan Sveinsson joined the group, becoming the only member with formal musical training and contributing orchestral arrangements that would define their later work. The band's early releases, including 1997's Von and its 1998 remix collection Von brigði, laid the groundwork for a distinctive aesthetic that combined classical minimalism with post-rock experimentation.
The Sound of Silence
The year 1999 marked a turning point when Sigur Rós released Ágætis byrjun, an album that would become their breakthrough and establish their international reputation. Critics worldwide began praising the record effusively, and high-profile acts including Radiohead, Coldplay, and David Bowie offered their own endorsements. The album's reputation spread through word of mouth over the following two years, creating a phenomenon that defied conventional music industry marketing. Three songs from the record appeared in Cameron Crowe's film Vanilla Sky, including a live take of what would later be known as Untitled #4, which Crowe described as the perfect track to end his film. The band's music also found homes in television series like Queer as Folk, 24, and CSI, while Wes Anderson used Starálfur in The Life Aquatic with Steve Zissou. After this album, the band became known for Jónsi's signature style of reverb-accentuated guitar work using a cello's bow, a technique that would become their sonic trademark. The album's success demonstrated that their ethereal sound could resonate with audiences far beyond Iceland's borders, creating a new pathway for post-rock to enter the mainstream consciousness.The Language of Dreams
In 2002, Sigur Rós released their most enigmatic work, an album simply titled with a blank circle that contained no song titles until the band later published them on their website. All lyrics on this record were sung in Vonlenska, also known as Hopelandic, a language without semantic meaning that resembles the phonology of Icelandic but contains no grammatical structure or defined word boundaries. The band described it as a form of gibberish vocals that fits to the music, emphasizing the phonological and emotive qualities of human vocalizations without the conceptual content of language. This approach was similar to scat singing in vocal jazz and puirt à beul in traditional Irish folk music, yet it created something entirely new. The album booklet included blank pages where listeners could write their own interpretations of the lyrics, inviting personal meaning-making into the listening experience. The band also released an EP titled Rímur with Icelandic fisherman Steindór Andersen, featuring traditional Icelandic rímur poetry recited over their music. This period marked a shift toward more abstract, ambient compositions that would influence countless artists in the years to follow.The Homecoming Tour
Following the release of their fourth album Takk... in September 2005, Sigur Rós embarked on a major world tour that would culminate in a series of surprise outdoor concerts throughout Iceland. These performances took place in various venues including abandoned bunkers and community coffee shops, creating an intimate connection between the band and their homeland. The resulting documentary film Heima, released in 2007, attempted to shed light on the band's interpretation of Iceland, revolving around three main elements: the band playing live, the Icelandic nature shaping their music, and interviews where they shared their overall experience of the tour. The film became a cultural phenomenon, with the band scheduling premiere screenings worldwide featuring short acoustic sets before the film and question-and-answer sessions afterward. The tour included stops in Europe, the United States, Canada, Australia, New Zealand, Hong Kong, and Japan, with a headline show at the Hollywood Bowl. The band's decision to return to Iceland for these intimate performances demonstrated their commitment to their roots while maintaining their global reach. The documentary's success proved that their music could create a profound emotional connection with audiences across different cultures and geographies.The Pop Experiment
In June 2008, Sigur Rós released Með suð í eyrum við spilum endalaust, their fifth regular studio album, which marked a stylistic departure from their earlier releases. The record featured fewer strings and more guitar, with more pop-oriented songs that made it the group's most accessible effort while maintaining the majestic beauty that defines their music. The final track All Alright became the band's first to be sung in English, though all other lyrics remained in Icelandic. The band released the first song from the album titled Gobbledigook for free on their website along with a music video, and made the entire album available for free streaming on the 8th of June 2008. During their autumn 2008 world tour, the band played as a four-piece without Amiina and the brass band for the first time in seven years. The tour started on the 17th of September 2008 in the United States at the United Palace Theater in New York City and finished with a concert in Reykjavík at Laugardalshöll on the 23rd of November 2008. The track Festival from the album featured in the score of the 2010 film 127 Hours, providing euphoric backing to the climax of the movie. This period demonstrated the band's willingness to experiment with their sound while maintaining their artistic integrity.The Hiatus and Return
Between 2009 and 2012, Sigur Rós experienced a period of uncertainty that included the cancellation of a planned album and rumors of an indefinite hiatus. In 2009, Jónsi embarked on a solo adventure with his first solo album Go, released the following year. The band announced in May 2009 that they had almost completed recording their latest album, but later revealed that the recordings had been scrapped. In a 2010 interview, Jónsi confirmed that they had to start all over again. However, before taking the stage at Coachella in April 2010, Jónsi commented that Sigur Rós would be getting back to work that year. The band released a DVD and double CD of their live performances in London called Inni, which was screened at the 68th Venice International Film Festival and saw official release in November 2011. After a four-year hiatus, an interview with the band in the March 2012 issue of Q magazine confirmed the completion of a new album titled Valtari, scheduling its release on the 28th of May 2012. The band also announced that every ticket purchased for their 2013 North American tour would include a new digital copy of a three-track EP containing new and unreleased music. This period of reflection and renewal demonstrated the band's commitment to artistic evolution rather than commercial success.The Aggressive Turn
In 2013, Sigur Rós released Kveikur, their seventh studio album, which marked both a musical and thematic change for the band. The album provided a more aggressive sound compared to their previous releases and was well received by critics, scoring 80 on Metacritic. The release was marked by a new tour and an interactive musical experience where fans could live stream a concert and take control of the camera. The band also provided original music and a rendition of The Simpsons Theme for the episode The Saga of Carl, which aired on the 19th of May 2013. They appeared in the HBO TV series Game of Thrones episode The Lion and the Rose on the 13th of April 2014, covering the song The Rains of Castamere. However, this period also saw significant changes to the band's lineup. On the 24th of January 2013, Sigur Rós announced that Kjartan Sveinsson had left the band, feeling it was time to do something different. The album's release demonstrated the band's willingness to evolve their sound while maintaining their artistic identity. The aggressive approach of Kveikur showed that Sigur Rós could adapt to new musical landscapes without losing their core aesthetic.The Scandal and Reunion
The years 2018 and 2019 brought significant challenges to Sigur Rós, including accusations of sexual assault against drummer Orri Páll Dýrason and tax evasion charges against the band. On the 8th of May 2018, the band released a new multimedia project called Liminal, described as an endless mixtape of ambient music. In September 2018, Orri was accused of sexual assault by artist Meagan Boyd, and on the 1st of October 2018, he announced that he had decided to leave the band in light of the scale of this matter. In March 2019, Sigur Rós were charged with tax evasion, accused of having submitted incorrect tax returns from 2011 to 2014, evading 151 million Icelandic krona. The band members blamed their former accountant and said they were cooperating with the authorities. The case was dismissed in October 2019 but this decision was later overruled by an appellate court. Three members were cleared, but the charges against Jónsi and his company Frakkur proceeded until all charges were dismissed on the 24th of March 2023. In October 2020, the band announced that a new album, Odin's Raven Magic, an orchestral work that was debuted live in 2002, would be released on the 4th of December 2020. On the 14th of February 2022, Sigur Rós announced that Kjartan had rejoined them, and the following week they announced their first world tour in nearly five years. This period of crisis and resolution demonstrated the band's resilience and commitment to their artistic mission.In January 1994, three young musicians gathered in a small room in Reykjavík, Iceland, and named their new band after a flower that had bloomed just days before their formation. Jón Þór Birgisson, Georg Hólm, and Ágúst Ávar Gunnarsson chose the name Sigur Rós, meaning Victory Rose, to honor Jónsi's younger sister who had been born only a few days prior. This personal connection would become the foundation of a musical journey that would eventually span three decades and transform the global perception of Icelandic music. The trio signed with Bad Taste, a label owned by the Sugarcubes, because the label executives believed their falsetto vocals would appeal to teenage girls. This initial commercial calculation would prove to be a fortunate accident, as the band's unique sound would soon transcend any demographic targeting. By 1998, keyboardist Kjartan Sveinsson joined the group, becoming the only member with formal musical training and contributing orchestral arrangements that would define their later work. The band's early releases, including 1997's Von and its 1998 remix collection Von brigði, laid the groundwork for a distinctive aesthetic that combined classical minimalism with post-rock experimentation.
The Sound of Silence
The year 1999 marked a turning point when Sigur Rós released Ágætis byrjun, an album that would become their breakthrough and establish their international reputation. Critics worldwide began praising the record effusively, and high-profile acts including Radiohead, Coldplay, and David Bowie offered their own endorsements. The album's reputation spread through word of mouth over the following two years, creating a phenomenon that defied conventional music industry marketing. Three songs from the record appeared in Cameron Crowe's film Vanilla Sky, including a live take of what would later be known as Untitled #4, which Crowe described as the perfect track to end his film. The band's music also found homes in television series like Queer as Folk, 24, and CSI, while Wes Anderson used Starálfur in The Life Aquatic with Steve Zissou. After this album, the band became known for Jónsi's signature style of reverb-accentuated guitar work using a cello's bow, a technique that would become their sonic trademark. The album's success demonstrated that their ethereal sound could resonate with audiences far beyond Iceland's borders, creating a new pathway for post-rock to enter the mainstream consciousness.
The Language of Dreams
In 2002, Sigur Rós released their most enigmatic work, an album simply titled with a blank circle that contained no song titles until the band later published them on their website. All lyrics on this record were sung in Vonlenska, also known as Hopelandic, a language without semantic meaning that resembles the phonology of Icelandic but contains no grammatical structure or defined word boundaries. The band described it as a form of gibberish vocals that fits to the music, emphasizing the phonological and emotive qualities of human vocalizations without the conceptual content of language. This approach was similar to scat singing in vocal jazz and puirt à beul in traditional Irish folk music, yet it created something entirely new. The album booklet included blank pages where listeners could write their own interpretations of the lyrics, inviting personal meaning-making into the listening experience. The band also released an EP titled Rímur with Icelandic fisherman Steindór Andersen, featuring traditional Icelandic rímur poetry recited over their music. This period marked a shift toward more abstract, ambient compositions that would influence countless artists in the years to follow.
The Homecoming Tour
Following the release of their fourth album Takk... in September 2005, Sigur Rós embarked on a major world tour that would culminate in a series of surprise outdoor concerts throughout Iceland. These performances took place in various venues including abandoned bunkers and community coffee shops, creating an intimate connection between the band and their homeland. The resulting documentary film Heima, released in 2007, attempted to shed light on the band's interpretation of Iceland, revolving around three main elements: the band playing live, the Icelandic nature shaping their music, and interviews where they shared their overall experience of the tour. The film became a cultural phenomenon, with the band scheduling premiere screenings worldwide featuring short acoustic sets before the film and question-and-answer sessions afterward. The tour included stops in Europe, the United States, Canada, Australia, New Zealand, Hong Kong, and Japan, with a headline show at the Hollywood Bowl. The band's decision to return to Iceland for these intimate performances demonstrated their commitment to their roots while maintaining their global reach. The documentary's success proved that their music could create a profound emotional connection with audiences across different cultures and geographies.
The Pop Experiment
In June 2008, Sigur Rós released Með suð í eyrum við spilum endalaust, their fifth regular studio album, which marked a stylistic departure from their earlier releases. The record featured fewer strings and more guitar, with more pop-oriented songs that made it the group's most accessible effort while maintaining the majestic beauty that defines their music. The final track All Alright became the band's first to be sung in English, though all other lyrics remained in Icelandic. The band released the first song from the album titled Gobbledigook for free on their website along with a music video, and made the entire album available for free streaming on the 8th of June 2008. During their autumn 2008 world tour, the band played as a four-piece without Amiina and the brass band for the first time in seven years. The tour started on the 17th of September 2008 in the United States at the United Palace Theater in New York City and finished with a concert in Reykjavík at Laugardalshöll on the 23rd of November 2008. The track Festival from the album featured in the score of the 2010 film 127 Hours, providing euphoric backing to the climax of the movie. This period demonstrated the band's willingness to experiment with their sound while maintaining their artistic integrity.
The Hiatus and Return
Between 2009 and 2012, Sigur Rós experienced a period of uncertainty that included the cancellation of a planned album and rumors of an indefinite hiatus. In 2009, Jónsi embarked on a solo adventure with his first solo album Go, released the following year. The band announced in May 2009 that they had almost completed recording their latest album, but later revealed that the recordings had been scrapped. In a 2010 interview, Jónsi confirmed that they had to start all over again. However, before taking the stage at Coachella in April 2010, Jónsi commented that Sigur Rós would be getting back to work that year. The band released a DVD and double CD of their live performances in London called Inni, which was screened at the 68th Venice International Film Festival and saw official release in November 2011. After a four-year hiatus, an interview with the band in the March 2012 issue of Q magazine confirmed the completion of a new album titled Valtari, scheduling its release on the 28th of May 2012. The band also announced that every ticket purchased for their 2013 North American tour would include a new digital copy of a three-track EP containing new and unreleased music. This period of reflection and renewal demonstrated the band's commitment to artistic evolution rather than commercial success.
The Aggressive Turn
In 2013, Sigur Rós released Kveikur, their seventh studio album, which marked both a musical and thematic change for the band. The album provided a more aggressive sound compared to their previous releases and was well received by critics, scoring 80 on Metacritic. The release was marked by a new tour and an interactive musical experience where fans could live stream a concert and take control of the camera. The band also provided original music and a rendition of The Simpsons Theme for the episode The Saga of Carl, which aired on the 19th of May 2013. They appeared in the HBO TV series Game of Thrones episode The Lion and the Rose on the 13th of April 2014, covering the song The Rains of Castamere. However, this period also saw significant changes to the band's lineup. On the 24th of January 2013, Sigur Rós announced that Kjartan Sveinsson had left the band, feeling it was time to do something different. The album's release demonstrated the band's willingness to evolve their sound while maintaining their artistic identity. The aggressive approach of Kveikur showed that Sigur Rós could adapt to new musical landscapes without losing their core aesthetic.
The Scandal and Reunion
The years 2018 and 2019 brought significant challenges to Sigur Rós, including accusations of sexual assault against drummer Orri Páll Dýrason and tax evasion charges against the band. On the 8th of May 2018, the band released a new multimedia project called Liminal, described as an endless mixtape of ambient music. In September 2018, Orri was accused of sexual assault by artist Meagan Boyd, and on the 1st of October 2018, he announced that he had decided to leave the band in light of the scale of this matter. In March 2019, Sigur Rós were charged with tax evasion, accused of having submitted incorrect tax returns from 2011 to 2014, evading 151 million Icelandic krona. The band members blamed their former accountant and said they were cooperating with the authorities. The case was dismissed in October 2019 but this decision was later overruled by an appellate court. Three members were cleared, but the charges against Jónsi and his company Frakkur proceeded until all charges were dismissed on the 24th of March 2023. In October 2020, the band announced that a new album, Odin's Raven Magic, an orchestral work that was debuted live in 2002, would be released on the 4th of December 2020. On the 14th of February 2022, Sigur Rós announced that Kjartan had rejoined them, and the following week they announced their first world tour in nearly five years. This period of crisis and resolution demonstrated the band's resilience and commitment to their artistic mission.