SIGUR ROS在1994年成立于冰岛REYKJAIL，早年一行三人姿态的他们包括歌手兼吉他手JON TONR BIRGISSON、低音吉他手GEORG HOLM和鼓手AGUST OVAR GUNNARSON，乐队取名自JON 年幼妹妹的名字（SINGUR ROS即VICTORY ROSE之意）。三年后，乐队终于在SMEKKLEYSA这所冰岛独立厂牌旗下发表了第一张专辑《VON》。然后乐队设立了一名键盘手KJARTAN SVEINSSON，自此SIGUR ROS拓展成四人阵容，乐队随即展开第二张专辑《AGAETIS BYRJUN》的工作。唱片在99年6月于冰岛SMEKKLEYSA厂牌推出，这张专辑在冰岛稳站排行榜冠军达8个星期，乐队在冰岛的成功，且由于这张专辑的出色表现更是令他们受到英国独立厂牌FAT CAT之青睐、把他们罗致旗下，并横扫当年的英伦独立音乐圈，也称为当年最令人瞩目的优秀作品之一。2000年，AGUST的鼓手位置由ORRI PALL DYRASON代替，乐队亦于伦敦举行了他们的首场演唱会。2002年，乐队由FAT CAT公司推出了第三张专辑()。
我不能确定那是云中隐隐的雷声还是SIGUR ROS伤感而铿锵的鼓声，我好象回到了遥远而熟悉的时间和空间，远得仿佛手伸得再长也触碰不到边缘的土地。有风，暖的，冷的，就这样拂面而来。夹杂着一些干净的泥土，沙砾，打在你脸上，细微的疼痛感，稍瞬即逝。有些仿佛是婴儿的声音，轻轻地唱着，念着，无意识的，或者有意义的，都可以。女的，男的，分不清的。什么都有。杂合着那样的风，那样的气息，就像是冰岛的空气，就像有人说的那样，“在冰岛有风吹到，都会有想哭的感觉。到处弥漫的，是音乐的，无处不在的音乐的气息。”就像是这样的，冰冰冷冷，又惬意非常的感觉。当然，还有一种季节叫冬天，冬天一定会有雪，雪是飞舞的，无论是黑夜还是白昼。在雪的世界里，就算阳光温暖明媚，也无法融化它们的躯体，生命就像雪季的一个过程，开始，白色的雪花覆盖了我们幼稚的童年，我哭了，旷野中，精灵们好奇而无奈的看着我，和着我的哭泣和风声轻轻吟唱着，我听不懂这语言，我只感到这歌声高亢，这风声像大提琴的鸣奏。雪慢慢的又覆盖了我脆弱的青春，我还来不及向往和期盼，这时我的身体强壮，却无法摆脱身边的束缚，一切的努力好象都只是在挣扎，广袤的原野只有我和在我腰际无边的雪，突然间雪到了我的头顶，原来白发是这样染成的......我笑了，听着精灵们朦胧、萧条的吟唱，我继续的等待。这就是驻留在我心灵角落的SIGUR ROS，连噩梦都是这般的诗意。我们会迷失的，会迷失在梦里的，会迷失在过去和现在的。纪伯伦曾说，遗忘是选择自由的一种方式。听这SIGUR ROS的《AGAETIS BYRJUN》，也许是可以选择迷失在自由里的，也许是可以选择彻底地束缚自己的。
无论是从概念还是从感觉来说，来自冰岛的SIGUR ROS都代表着空灵简约的美学主义。八首无名的歌曲，一对()作为标题，一本无字的小书，这是SIGUR ROS的第三张专辑，它再一次把乐队的简约主义风格发挥到一个前所未有的新层面之上。正如SIGUR ROS所说的“每个人对这唱片里的音乐都会拥有完全的个性化体验与感知，对于每个人来说，唱片都是为他们个人而创作是独一无二的”，因此我们实在不需要把此唱片分为任何的歌曲，因为所有作品都是来得那么凄美动人，它们是为人类灵魂深处而存在的一系列配乐。TRACK-1缓慢凝重的前奏，高潮部分的凄厉假声将让人痛得彻骨，纯音乐作品TRACK-3在最简约的音符上描绘着无垠的宏大，纯正的电影质感，然而我想这需要怎样的一部电影才能表达这份感觉？而在这张专集中最为出色的是TRACK-4，空灵飘逸的吉他在神圣的鼓点声中延伸、渗透，JON TONR BIRGISSON的歌声再次响起，虽然始终重复着一句歌词，但是依然非常富有变化和感染力，一曲终了，总有意犹未尽之感。TRACK-6深具内聚力的演奏，好比PINK FLOYD鼓手NICK MASON来演奏的GOTHIC作品，歌曲也渐趋激情。在碟末TRACK-8内更展现出他凌厉的鼓技。而TRACK-6则让我隐约的感觉到大海，兰色和白色的世界，是悲伤之人的眼泪汇聚而成地方，因为它的味道也是咸的，我们无时无刻的，日以继夜的带着这种液体奔波着，只要生命存在，它们就有理由存在，因为它们是悲伤和快乐的载体。就算生命不在了，我们的泪水会合在一起，来自每一个村庄和城市，每一个清晨和黄昏。也许这就是殊途同归的最终体现。大海的边缘是和天空相接的。在每一个晴朗的日子，总有一些人在这无边无际的痛苦汪洋中快乐的戏水，俨然忘记了这是一个苦涩之源。()，简单的符号，却到底是什么意义？谁都有他的感觉和想法。我却无从理解。是圆满吗？残缺的圆满吗？或者是两个月亮？上弦月，遥对着下弦月？或者只是括号？包括了没有指定意义的括号？太多答案。甚至这已成为一个迷失的乐园。好像越扯越远了。只在回忆中感觉那样的音乐。因为无风，因为微冷，因为无声，因为疲惫。
全碟的歌词是一种混合英语及冰岛语的一种语文，被SIGUR ROS们自称为HOPELANDISH，所以很难听懂齐歌词的意思，但是这并不重要，JON TONR BIRGISSON犹如天籁的歌声本身就是一种乐器。
听POST ROCK需要一个条件，就是要对音乐有开放的心，如果你是一个“死硬派”乐迷可能你会觉的POST-ROCK只是一些乱来的东西，甚至是垃圾，这在乎你对音乐是否勇于尝试及接受。

This is Johann's second album for Touch, after the highly acclaimed 'Englabörn'. 'Virðulegu Forsetar' contains one hour-long piece for 11 brass players, percussion, electronics, organs and piano. It's presented as an ordinary stereo CD and as a DVD-Audio with a high resolution 5.1 surround mix. The piece had its live debut in Hallgrimskirkja, a large church in Reykjavik and the city's towering edifice, and was named "the most memorable musical event of 2003" in Iceland's leading newspaper. The piece has 'Englabörn's' quiet, elegiac beauty, but abandons the brevity of the first album's exquisite miniatures in favor of an extended form that reveals a long, slow process. A simple theme played by the brass section is repeated throughout the entire piece using different voicings and instrumentation.
As the piece goes on, the tempo slows down, until it is extremely slow. Around the middle of the piece, the tempo starts to speed up again, until it reaches the original tempo.
Space and the sense of place were very important in the performance and recording of the piece. Players were positioned both in front and at the back of the church and two organs were used, again, one in front and one at the back. This created a sense of immersion and a sound that is powerful without ever being "loud". As the piece is written for a specific location, it made sense to record it live in this same space and attempt to 're-create' it for the listener with 5.1 surround technology. This was like creating an audio 'mold' or 'cast' of the inner sonic architecture of the building. In this way, the music engages in a dialogue with the space it's performed in and the recording process becomes as much a documentation of a place as a documentation of music.
Jóhann writes: "During the first live performance of the piece, the church ceiling was filled with blue helium balloons which were timed to fall extremely slowly to the ground during the performance and scatter among the audience. To our pleasant surprise, the balloons reacted with the sound, falling with greater frequency as the volume increased. During the performance the light slowly changed through the church windows as the sun went down. The concert was fairly late, ending at around midnight and it being a bright, cloudless spring evening, the combination of all these physical and natural processes made for quite a memorable moment". "I had a number of things going through my mind during the writing of the piece, some of them being an obsession with entropy, Pynchon's "The Crying of Lot 49", postal horns, cybernetics, small birds, heat, space, energy, "singularities", Nietzsche's Eternal recurrence, Moebius strips. I'm absolutely not interested in imposing any one 'meaning' on the piece, but all these things were flying around somewhere in my head. A casual listener might categorize the piece as ambient or meditative, but I think this is really wrong - for me it's much more about chaos and tension rather than harmony. I go through many different emotions listening to the piece, veering from intense joy to acute sadness. The central point is perhaps how a very simple thing can change by going through a very simple process - something about change and transformation and the inevitability of chaos."
'Virðulegu Forsetar' is performed by the Caput Ensemble, conducted by Gudni Franzson, with Skuli Sverrison on bass and electronics, Matthias M.D. Hemstock on bells, glockenspiel and electronics, Hordur Bragason and Gudmundur Sigurdsson on organs and Johann Johannsson on piano and electronics.

All of Bjork's biggest hits and best-known songs, the songs that are sure to be familiar even to people who think they don't know Bjork's music, plus one track recorded for this release, 'It's In Our Hands'. Compiled by fans in a unique website vote. Gatefold sleeve. Elektra. 2002.

來自冰島樂隊的第二張大賣大碟。不食人間煙火、令人流淚的音樂。

Myspace:

冰岛新的年轻天才，很有涵养的Olafur Arnalds 能把古典元素融合在氛围和微电子节拍里，有Sigur Ros的味道，也有Mum的感觉。
Olafur Arnalds原来在家乡Mosfellsbaer离雷克雅维克偏壤的一个小镇上，他同时身兼多支Hardcore乐队的鼓手职务，先是替友人的乐团My Summer as a Salvation Soldier担任多项乐器伴奏，还获邀为美国Indie-Rock乐团Cursive担任德国巡回演出的伴奏乐手。Olafur Arnalds的个人音乐作品以钢琴和弦乐为主， 与其说是post-rock， 不如干脆说是modern classical。

"Yesterday was Dramatic - Today is Ok"是冰岛乐队múm于2000年3月出版的第一张专辑。欧洲青年活得自由又老成，你很难想到"Yesterday was Dramatic - Today is Ok"这样聪明的句子是出自一群17岁到19岁的孩子之口，但这的确如此。更令人赞叹的是，他们的音乐也同样到位。
múm 是一个实验电子风格的四人组合，由一对双胞胎姐妹Kristín、Gyea 以及Gunni和?rvar两个男孩组成。如果你手头上有一张Belle & Sebastian的Fold Your Hands Child, You Walk Like a Peasant,那你对这对姐妹就不应该陌生，因为她们就是唱片封面上的那两个女孩。
múm 四位成员的音乐旅程都各自始于在他们成立乐队之前很久。Gunni早期是自己用Amiga做一些old-school hardcore 风格的音乐，一些专业乐评人认为那些曲调是单纯的跳舞音乐。在乐队的简历中也曾经提到过这些小样有可能在日后的某一天发行，但也仅仅只是可能。一个偶然的机会让?rvar听了Aphex Twin的那张"Selected Ambient Works"，他坐在学校的地板上听完了整张专辑，这次聆听经验彻底的改变了他的音乐路线，从那以后他和朋友?rvar一起转向于电子领域。?rvar开始做自己的音乐是在他的父母给他买了他的第一台电脑以后，起初他只是用BASIC做一个游戏的配乐，但自此以后他的热情就一发不可收拾。
Kristín 和Gyea自幼受过严格的古典音乐训练，学习钢琴和大提琴。在一个活动中心的演奏上，Gunni和?rvar发现她们能促进自己音乐风格的改进，于是四人组合múm就这样成立了，那时候两个女孩才15岁，他们一起做了一首关于垃圾儿童的曲子。两年后，múm在TMT发行了他们的第一张专辑，这只颇具明星风范的年轻乐队初次登场就赢得好评如潮，并且赢得与Sigur Rós以及Emiliana Torrini的合作机会，甚至被邀请参加Bj?rk的巡回演出。
"Yesterday was Dramatic - Today is Ok"试图描述成长中平凡的苦恼以及呈碎片状的零落生活，这样一张梦幻般的专辑里有我们每个人的童年，看看他们的歌名都非常非常可爱：I'm 9 today（偶刚满九岁）；Smell memory （闻一闻回忆），There is a number of small things（一堆小玩意儿），Random summer（无心夏日），The Ballad of the broken string（断弦记），Sunday night just keeps on rolling（午夜周末意难平），Slow bicycle（晃晃悠悠的单车）。
整张专辑处理的非常轻灵，múm使用了手风琴，黑管，口风琴配以电声，曲调优雅悦耳，并难以想象的混入了各种各样非常可爱的音效，如同计算机时代的Belle & Sebastian，四个迷人的孩子简单而安静，而越来越多复杂的音乐成分则让múm显得更加专业。这样的音乐也不再是所谓的sweet pop了。
《一只病小鸟的歌谣记录》是唱片中的第7首歌，一手歌名概括他们的精神气质。听múm的音乐，给你一次仰望天空的机会。

My Head is an Animal is the debut studio album by the Icelandic indie folk band Of Monsters and Men,[1] released in Iceland in September 2011. After their success, topping the Icelandic charts with their debut single, "Little Talks", the band signed with Universal Music Group and the song will be released worldwide in early 2012. The title of the album comes from the second line in "Dirty Paws".

First Album by Icelandic Rock Group Kaleo

Firmly a phenomenon in their home country of Iceland, the four-piece band Kaleo is set to descend upon foreign shores in 2015, bringing their gorgeous blend of folk, blues, country, and rock to a wider mainstream audience in America. Their isolated heritage inspires a unique take on familiar sonic elements, resulting in diversity and freedom on each and every breathtaking track.
Best friends since attending elementary school in the small town of Mosfellsbaer outside of Reykjavik, bandleader JJ Julius Son, drummer David Antonsson Crivello, and bassist Danny Jones began playing together at the age of 17. Honing their skills, they played countless shows around the nation’s capital for a few years before adding guitarist Rubin Pollock to the mix in 2012. They named the band Kaleo, which means “the sound” in Hawaiian, and started their career in earnest with a handful of well-received shows at the 2012 Iceland Airwaves music festival.
They recorded their first pair of original songs in early 2013, the fiery “Rock N Roller” and laid-back, bluesy “Pour Sugar On Me,” which earned Kaleo some radio airplay and press in Iceland. Then, that spring, their cover of the traditional Icelandic ballad “Vor í vaglaskógi” during a live radio show was videotaped and posted to YouTube, where it quickly went viral. The band recorded a studio version of the song in June, which went straight to Number One in virtually every radio station in the country. “It’s a different kind of cover, more dramatic and the tempo is taken down,” says JJ. The buzz for Kaleo had begun.
The band signed to Iceland’s largest record label, Sena, in the fall of 2013 and recorded their full-length debut, Kaleo, in just six short weeks. Five singles would reach Number One and the album would go Gold, receiving high praise and sending the band to shows and festivals in Europe over the next year, including an appearance on the biggest stage in their home country, Culture Night, where they played to 100,000 people and reached 90 percent of Iceland’s population in broadcast. Then, in the spring of 2014, Kaleo recorded the lush, introspective song “All the Pretty Girls” and in one night their destiny to outgrow their small, island nation was cemented.
“It’s a very delicate song. It seemed to speak to a lot of people,” says JJ. “From there everything started to happen. We got contacted from other places: managers, labels, publishers—they all went crazy over one night.” Drawn to Kaleo’s multi-layered dynamics, their ability to play different genres with equal skill, the vocals and mood reminiscent of everything from Bon Iver and Iron & Wine to Coldplay and David Gray, and wise-beyond-their-years songwriting, the world came calling.
Now, signed to Atlantic Records in the US, Kaleo has moved to Austin, Texas, and will begin recording new material with producer Mike Crossey (Arctic Monkeys, Jake Bugg) in London for an EP due this year. Get ready for the sound.

《Bang Gang：Something Wrong》你已经找到完美的音乐伴随着你在漫长的黑夜中跳舞，眼前黑暗，但仍然充满着光和难忘的声音，音乐流露出如钻石般锐利的伤感，强烈的情感表达和电子乐的组合构成了BANG GANG。电子乐队Bang Gang，他们一共出过两张专辑，第一张叫做You，第二张叫做Something Wrong，虽然作品不多，却十分精致。



Something Wrong的风格和上一张专辑You相差很大，Bardi Johannsson几乎完全抛弃了节奏，使人很难将这张专辑同电子音乐联系起来。整张专辑节奏舒缓，民谣的成分大大增多，不过出了吉他之外就没有什么原声乐器了，合成的成分还是比较大。音乐风格也呈现出多样化：从电子到民谣再到流行，甚至还有一点爵士。歌手阵容更是强大，Keren Ann也在里面演唱了一首歌曲。

01 Inside 5:38
02 Follow 4:51
03 Something Wrong 2:50
04 It's Alright 4:04
05 There Was a Whisper 3:59
06 Forward and Reverse 3:52
07 Find What You Get 3:27
08 In the Morning 4:38
09 Stop in the Name of Love 3:33
10 Everything's Gone 2:23
11 Contradictions 4:44
12 Look at the Sun 2:51

发行日期：2003年

专辑介绍：
文/高尔吉亚
冰岛，这个人口只有20万左右的国家，在最近几年里却不断涌现出一批个性张扬桀骜不羁的优秀乐队，如Bjork、Gus Gus、Sigur ros、Aria、Singapore Sling、Emilana等，有意思的是，这些乐队的名字只频繁出现在电子和后摇类型中，而不是其他的类型。Bang Gang就是其中一支在Trip-Hop领域里浸淫很深的乐队。
如果追溯Bang Gang的前身，实际上是由Bardi Johannsson和朋友Henrik Baldvin Bjornsson两人组成，并且是一个标准的Surf-band，在1996年推出的第一张EP《Listen Baby》为他们带来了最初的声誉，同时也宣告两人的合作关系就此结束。Bardi找来了一个来自冰岛的女声Esther Talia Casey，组成了一个新乐队并且为此命名为“Bang Gang"，乐队灵魂自然非Bardi Johannsson莫属。乐队在1998年由法国着名的Downtempo厂牌Yellow出版发行了首张大碟《You》的冰岛和韩国版，随后在2000年Yellow公司又发行了《You》的法国版。法国版的《You》相比98年的版本要多出两首混音的版本，分别是由Kid Loco操刀混音的“In heaven”和Doctor L跨刀混音的“Liar”。很多人以为Bardi和Kid Loco等人很熟悉，其实不然，对此Bardi曾经在采访中这么说道：“我并不知道他但我们同签约在一家法国的唱片公司，仅此而已。”对于这个法国Downtempo界的红人，Bardi的表现并不象一些人所想的那般很激动，Bardi接着说道：“我觉得Kid Loco的混音还不错，但我更喜欢他自己的唱片里的音乐，唱片公司寄给我们许多准备帮我们做混音的法国乐队的录音带，但我们听下来都不太喜欢。”
Bardi对乐队在冰岛的唱片销售情况感到基本满意，他说：“《You》在冰岛一共卖出了2000张，差不多就是百分之一的冰岛人已经购买了我们的唱片。”但在冰岛他们还是属于比较地下的，不太知名，但随着最近这段时间频繁的一些欧洲国家之间的演出，相信他们已经开始越来越受人瞩目。更何况他们签约的是一家在法国乃至整个欧洲都很知名的厂牌：Yellow。
Bardi Johannsson在音乐上的构想正好是如今风靡电子界的模式：鼓机节拍+女声。
在Bardi的感觉中，女声要远比男声更富有吸引力，对听众来说也更乐意接受。虽然在他们的唱片《You》中你还可以找到另外两个女声Vietis和Sarah，但Bardi显然还不满足于这些女声的选择，他希望在今后能有机会和Hope Sandoval (Mazzy Star), Nina Person (Cardigans), Kim Deal (Breeders)这些乐队的女主唱合作。
而在节拍的掌握感觉上，并不黑暗沉重，和Sneaker Pimps，Puracane等乐队一样，节拍上要比一般而言的Trip-Hop中习惯的节拍要快一些，飘一些。甚至偶尔也会有Drum&Bass的拍子出现在作品中。但总体而言，Bardi还是认为自己的音乐是以Trip-Hop为主，他这么来形容自己的音乐：
“是以Trip-Hop为主，但同时受很多影响尤其是80年代的一些音乐元素，非常适合在做爱中播放的一种音乐。”
封套的设计上是一个戴着胸罩的女性丰满胸部特写，其音乐是否也一样性感呢？让我们还是耳听为实：
“Liar”的开头充满了妖气，一把提琴拉得旖旎妖艳风情万种，配上松脆的节拍，婉转的女声，又是一首很Easy Listening的作品。乐队很喜欢在作品中保留一段无人声的纯节拍，比如“Hazing Out”“Sleep”。
“Falling Apart”的高潮曲调相当流畅动听，而且极易让人跟着旋律哼唱，如果放在一些KTV里或许算是一首很热门的点播歌曲。
“Never Ever”是整张大碟中最出挑也是我最喜欢的一首作品，相对之前提到的“Liar”来说，这首作品缠绕的妖气要浓的多。单看歌词已经是五毒俱全，“crack your head/eat your heart/eat your shit/[内容被过滤，请注意论坛文明] me up bad”用词又狠又毒，一幅拼死拼活极尽恶毒的模样，虽然整首作品看起来描述的似乎是一个在感情迷雾中徘徊又怨又恨又爱又怜的复杂情绪，但在器乐和节拍的构筑上却相当妖魔化。从一开始的贝司Solo铺垫，然后是打击乐器的融入，再是两个低沉黑暗的男声切入，音调上介于走音的边缘上，轮到之后女声的正式加入时，其曲和唱腔上的配合着实让我惊艳了一把，节拍也回归到慢而重的Trip-Hop感觉上，一切都恰到好处。之后照例是一段纯节拍的过门，让我惊喜的是又一次听到了熟悉的老唱片杂音和开头的贝司声，这锅靓汤至此才算终于熬出了鲜味。
令我惊喜的还有Bardi Johannsson和电影上的合作联系，很早Bardi就和David Lynch（国内翻译为大卫林奇）有过一次合作：为David Lynch的电影作品《Eraserhead》（国内翻译为《橡皮头》）创作过一首作品"In heaven" 。此后他的一首作品“Hazing Out”又入选了电影 "Blossi 810551"的原声。后来看采访才得知Bardi本人相当喜欢艺术电影，并且专门在一家冰岛报纸上写一些影评，他喜欢一些有着黑暗诡异氛围，结构奇特妖艳的导演作品，如David Cronenberg, David Lynch, Dario Argento等等。就Trip-Hop这种有着黑暗颓靡的气质音乐本身来说，确实相当适合拿来做这些拥有着同样气质电影的原声。
距离发表处女大碟《You》已经有三年时间，Bardi Johannsson终于再次送上了他们的新作《Something Wrong》。仅从这次精心设计的封套上就可推测出新专辑将继续延续上张专辑荒芜孤寂的路线，但如果你有机会看过“Stop In The Name Of Love”这个作品的Video的话，你就会发现他们温存的一面。
此外，这次最显着的变化来自于对真乐器的大量运用，和Archive、Blue States这些乐队一样，如果你没听过他们的早期作品，多半会误以为这是一支新晋英式乐队呢。由Esther主唱的开篇曲“Inside”，慢条斯理的真鼓节奏，略带悲伤的弦乐，让我们再次重温了一遍标准的Bang Gang味道。“
Something Wrong”的开头象是步入了一个曲径通幽的花园，但随后就让人大失所望。到是“Forward And Reverse”结尾部分的鼓击听来相当大气，富有气势。虽然有小猫般富有特色的女声Esther，但这次Bardi还是夺回了大多数作品的人声权利，不过老实说，他的声音太软太糯了，不太适合激烈的吉他伴奏，如果能找到一个更妖娆的男声的话，凭借“Find What You Get”这首英式吉他作品说不定都可以入围英国水星音乐奖。
行文到最后，就让我们往唱片机里放上一张Bang Gang的唱片，象Bang Gang一样性感。
————转自幽声隧道

"Iceland's best new export comes in the shape of Eulogy For Evolution!"
"If you thought Sigur Rós had the patent on hauntingly beautiful and meticulously compelling music coming out of Iceland, then Ólafur Arnalds is here to educate you otherwise. - Eulogy For Evolution is perhaps this years most hauntingly emotive sounding experience'"
冰島繼Sigur Rós、Jóhann Jóhannsson、Hilmar Örn Hilmarsson之後，地表上最罕見的動人樂章。
「Eulogy For Evolution」其實是一張非常特殊的唱片，誠如上一段介紹裡提到，Ólafur Arnalds原來在家鄉Mosfellsbær離雷克雅維克偏壤的一個小鎮上，他同時身兼多支Hardcore樂隊的鼓手職務，理應深受重型搖滾音樂的薰染甚過於古典音樂；可是在「Eulogy For Evolution」這張唱片裡，卻處處見到了半古典音樂編制，鋼琴、提琴與弦樂四重奏的鋪排架構，Ólafur Arnalds玩的是猶如Erik Satie、Claude Debussy等人深鬱的鋼琴樂曲，聽來頗有電影配樂般的壯闊景致。Ólafur Arnalds肯定會被拿來與Sigur Rós等人相作比較，無論從草創時期的音樂涉獵，亦或是其後音樂創作上從容不迫的大器，那都有無數可以比較的理由。專輯裡8首曲目全以4位數字來作為標題，看似時間又像是一套數字密碼，彷彿非得解開其背後的動機，才能完整理解Ólafur Arnalds的創作。專輯中除了3055與終幕曲3704／3837等兩首曲子適切地加入了鼓擊與電吉他的噪音聲浪，其餘6部作品均是以鋼琴、弦樂為對話，靜謐而深刻地描繪著對於環境的讚佩。
開場曲0040即是一首辨識度極高的鋼琴演奏曲，旋律非常耳熟；Ólafur Arnalds十指落於黑白琴鍵上的力量，彷彿主宰著天地宇宙，任憑他撥一片雲、淌一團霧，在哀怨苦楚的弦樂伴奏下，叫我想起的是希臘大師安哲羅普洛斯 (Theo Angelopoulos)的電影。我想若能親臨Ólafur Arnalds與弦樂隊的演出現場，一定會叫自己落淚。0048／0729在濕潤的Reverb所凝結的空間氣氛下，遠處傳來微弱的斑鳩琴的哀鳴，既深刻、亦悲楚。0952裡散落的琴音，與愁雲般的弦樂糾結在一塊，彷彿是怎麼拉扯也散不開。1440若來作為電影配樂，絕對相當契合；Ólafur Arnalds花了許多精力在鋼琴的獨奏鋪排上，總是緩慢、緩慢地勾起了一絲絲懸疑、一絲絲宏偉的史詩架構。專輯中最漫長的旅途1953，Ólafur Arnalds彷彿平復了劇烈的情緒，安分地作為故事的引導者，引領聽者一步步地踏往深處的陰極。3326突然又轉為室內樂曲，透過中、小提琴穿插排列出的層次，呈現與前6首曲子截然不同的氣氛。而終幕曲3704／3837的巧妙鋪設，Hardcore音樂、電子剪輯手法，彷彿電台司令之於 Paranoid Android，那種瘋狂、錯亂的景致，叫人愛不釋手。
多才多藝的Ólafur Arnalds也沒有完全丟下對搖滾樂的熱情，先是替友人的樂團My Summer as a Salvation Soldier擔任多項樂器伴奏，還獲邀為美國Indie-Rock樂團Cursive擔任德國巡迴演出的伴奏樂手。完全無法想像，Ólafur Arnalds這居中的多重音樂性格，哪一個才是原來的自己；又或許是性格冷漠卻喜愛尋求刺激的冰島人，的確有著異於常人的敏銳觸覺。「Eulogy For Evolution」是一張驚心動魄、具有罕見美感的音樂大製作，似乎連唱片封套設計都不敢馬虎。而唱片則交由倫敦新銳音樂廠牌Erased Tapes Records於10月29日發行。

Björk has released her new album Vulnicura almost two months ahead of schedule a fter it was leaked online.
Tracks from the album were posted online just days after the Icelandic singer announced the title and tracklist. It is being rolled out on iTunes around the world over the next 24 hours, though the vinyl and CD are being kept back for the original March release date.
Serving as the follow-up to 2011’s multimedia project Biophilia, the nine-track effort features production from Arca and The Haxan Cloak. Additionally, Antony Hegarty of Antony and the Johnsons sings on the track called “Atom Dance”.
Meanwhile, Bjork has written an open letter about the album and its creation, and you can read it below.
"dear websitefolks , fans , tweeters and my music supporters on all the sorts of www :
vulnicura will be rolling out worldwide over the next 24 hours !!

i am so grateful you are still interested in my work !!
i appreciate every little bit !!!
i wanted to tell you the tale of making of this album
i guess i found in my lap one year into writing it a complete heartbreak album . kinda surprised how thoroughly i had documented this in pretty much accurate emotional chronology …. like 3 songs before a break up and three after . so the anthropologist in me sneaked in and i decided to share them as such . first i was worried it would be too self indulgent but then i felt it might make it even more universal . and hopefully the songs could be a help , a crutch to others and prove how biological this process is : the wound and the healing of the wound . psychologically and physically . it has a stubborn clock attached to it .
there is a way out
and then a magic thing happened to me : as i lost one thing something else entered . alejandro contacted me late summer 2013 and was interested in working with me . it was perfect timing . to make beats to the songs would have taken me 3 years ( like on vespertine ) but this enchanted arca would visit me repeatedly and only few months later we had a whole album !!! it is one of the most enjoyable collaboration i have had !
i then went ahead and wrote string and choir arrangements and recorded them in iceland
towards the end of the album i started looking around for a mixing engineer and was introduced by a mutual friend of ours , robin carolan to the haxan cloak . he mixed the album and also made a beat for one half of “family” . together with chris elms the engineer we kinda formed a band during the mixing process and this is the album we made !!!
i do hope you enjoy it
i would like to thank this overqualified little team ( where roles often blurred )
. i also would like to thank robin , his generous approvals gave me more courage to complete this as is .
and my group of songswapping / dj friends : the right tune can truly cure : ta for those sonic ointments
but most of all i would like to thank my team : james merry , derek birkett and emma birkett . rosemary and elisa . this album could not have been done without you"
(via Björk’s Facebook)