Skip to main content

Jónsi - Shiver (2020)

Jónsi - Shiver
Ten years ago Jónsi, Sigur Rós’ distinctive frontman, released his debut solo album Go. Hotly anticipated at the time, it served to expose the post-rock luminary to a wider audience, and for the most part, was pretty successful. Now, with the help of in-demand producer A.G. Cook, Jónsi is tapping into a very different kind of pop music. Cook is the head of PC Music, the English record label behind some of the weirdest and most inventive music of the last decade. Jónsi’s move is a savvy one, picking the guiding force behind the hyper pop of Charli XCX, Hannah Diamond, and 100 gecs and cementing himself among a growing trend.

Shiver is undeniably a Jónsi album, but Cook looms large over every track. Usually, that’s a good thing, Cook is often able to refine his sound and back up the singer in simple sufficiency. But on “Wildeye” and “Swill” in particular, his production is laid on so heavy, it clashes with Jónsi’s marked emotion.

Besides Cook, Shiver features two other notable collaborators; Elizabeth Fraser of Cocteau Twins and the inimitable Robyn. Fraser’s contribution is a match made in heaven, with her ethereal vocals perfectly lightening the moody “Cannibal” and cementing that their relationship lives up to what it looks like on paper. Robyn on the other hand, aside from her nordic roots, seems like an odd choice. “Salt Licorice” ends up sounding like a perfectly fine B-side from The Knife, but with Robyn’s clubby enthusiasm warping the tone enough to seem mismatched among the rest of the tracks.

Jónsi can still be as captivating as he’s always been when on his own though. “Exhale” and “Grenade” the most memorable tracks on the album, help bookend the boisterous and confused sound between them. Their placement helps sell the Shiver to Jónsi’s fans, being the most reminiscent of his prior work, and more importantly the most elegant.

After ten years, Jónsi has shown that he still has an ear for finding melody in the most unlikely places. Where Go stood as a natural outlet for stifled creativity, Shiver extends Jónsi’s prowess even farther. Both may prove to be products of their times, but both serve as deeply singular bodies of work.

~7.5

Comments

Popular posts from this blog

Concert Review: Wilco at The Riviera Theatre, – 3/26/23

Wilco at The Riviera Theatre, – 3/26/23 Chicago’s Uptown neighborhood was once the center of the city’s booming entertainment district. Located at what had initially been the end of the L Train system, The Aragon Ballroom, Green Mill Jazz Club, and long-defunct Uptown Theatre quickly defined the corners of Broadway and Lawrence Avenue as the designated area for Chicagoans to congregate for the arts. As the area’s zeitgeist waivered though, the theatres grew into a weekend oasis of vibrancy amongst an otherwise casual and sleepy north-side neighborhood. Given Wilco’s consistent championing of Chicago’s local institutions, and another Uptown landmark Carol’s Pub in particular, The Rivera Theater seems like exactly the kind of venue for the band to host their latest three-night run and the start of their spring tour. Jeff Tweedy and company know the former movie palace well, playing there many times over the years and even using it as the base for a five-night series of performances b

Buck Meek – Haunted Mountain (2023)

Buck Meek – Haunted Mountain   Big Thief, one of the best and most adept bands of the 21 st century, has done more in six short years than most bands can squeeze out of an entire catalog. Each of their five studio albums has managed to expand their signature homespun charm into exciting, self-contained albums. The sound always moves forward but with distinct detours projecting their country-folk and singer-songwriter tendencies over disparate palates. The band’s prolificity extends to their solo catalog as well, the most notable inclusions naturally coming from lead singer and principal songwriter Adrianne Lenker. But behind her eclipsing generational talent, is guitarist Buck Meek, an artist who could easily shepherd his own headlining band if he needed to. Aside from some early, Big Thief-adjacent work, Meek’s true breakout was with 2021’s Two Saviors , a beautiful, alt-country collection of songs, most of which approached the quality, if not the scale of his mother band’s rel

Fever Ray - Radical Romantics (2023)

Fever Ray – Radical Romantics Karin Dreijer’s debut solo album Fever Ray came out only shortly after Silent Shout , an album that was almost immediately hailed as The Knife’s masterpiece. The inevitable comparisons seeped out, no one was completely ready to accept the more cavernous Fever Ray as any sort of a replacement for the lush maximalism of Dreijer and her brother’s The Knife. Regardless, Dreijer had proved how essential they were to that project and by 2014, the two had disbanded. Fever Ray’s next album Plunge continued Dreijer’s push towards empty space with an angrier and more overtly political edge and simultaneously built Fever Ray into a proper entity in its own right. Radical Romantics is a Fever Ray album in that its fixations swarm around Dreijer, all their proclivities, and all their vulnerabilities. It’s also the closest Fever Ray has ever sounded like The Knife, whether it be the soaring and anthemic “Shiver”, or the pronounced synths ripples on “New Utensi