Jónsi & Alex
Riceboy Sleeps
Rating: 2.0/5.0
Label: XL/Parlophone
When Sigúr Rós broke out with Ágætis Byrjun 10 years ago, something about the zeitgeist not only allowed for but welcomed the album’s ethereal vocals, icy production and mournful tone. This acceptance was prescient in a way as we descended into the dark bowels of the Bush era. While the world seemed to make no sense, Sigúr Rós continued to release albums of crystalline beauty to remind us that beauty did exist in this ugly reality.
However, Sigúr Rós went from a well-kept secret to ubiquitous machine seemingly overnight. They began to sell out large theaters, headline festivals and appear on numerous film soundtracks. Though subsequent albums such as ( ), Takk and Með suð í eyrum við spilum endalaustat did little to advance the band’s sound, they also provided us with the mooring we could rely upon during the last confusing eight years.
For further proof that Sigúr Rós’ success is a sum of all its parts, look no further than singer Jónsi Birgisson’s Riceboy Sleeps record, a solo project he conceived and recorded with lover Alex Somers. Once again the adjectives ghostly, eerie and delicate can apply but instead of the concrete song structures that rein in the most overlong Sigúr Rós experimentations, Riceboy Sleeps strips that equation to the very minimum, removing Birgisson’s voice and any rock ‘n’ roll elements, leaving behind what could be described as formless New Age meanderings. It is difficult to imagine anyone digesting this record unless you have the patience of a Zen monk. Most tracks run an upward of seven minutes of dirge-like repetition and minor variations around a simple sonic idea. And trust me; I’m a fan of Brian Eno’s Music for Airports. The entire project just dithers on, unsure if it wants to be ambient music or would rather push to the forefront of the speakers, demanding attention.
“Indian Summer,” featuring snippets of Birgisson’s voice and the vaporous strings of frequent collaborator Amiina, sounds the most like a Sigúr Rós track and therefore is the album’s most successful song. Taken in segments, Riceboy Sleeps has its successful and curious moments. “Boy 1904″ features the only known recording of the last castrato singer and “Atlas Song” ends with a choir in reverie. It’s no coincidence that songs with vocals are the most successful. Otherwise Birgisson and Somers sound adrift.
It’s difficult to reach for Riceboy Sleeps when you have other Sigúr Rós albums at your disposal. It must be noted that Birgisson and Somers have envisioned Riceboy Sleeps to encompass more than just an aural document, as a 52 page book sans words and a full-blooded website with videos are out there to support the project. For a stress reliever at the end of the day, an accompaniment to yoga practice or divided up by songs and inserted into playlists, Riceboy Sleeps is not without merit. There is no denying Birgisson has talent, though it is unfortunate that he holds back on his voice on this album, that being the most impressive talent he has.
by David Harris
