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New Music: Jónsi — “Go”

Posted on | April 11, 2010 | 1 Comment

First thing’s first: this album is the most incredible, awe-inspiring and beautiful record I have heard in a very, very long time. Without hesitation I will call it my favorite album of 2010 so far, and it automatically goes into my top 10 of all time. If you would like to listen to it while reading the rest of this post, it streams (as of this writing) for free from his official website — click here.

Being a fan of Sigur Rós, I was pretty sure that I would like their frontman’s solo record, but more than that I was absolutely floored when I first heard it. From the intricately small sounds that creep around your ears, to the immense walls of sound at peaks of dynamic intensity that just about make your heart explode, this album delivers an out-of-body experience best enjoyed with the lights off and through a really great stereo.

Better yet, put on some headphones. I did this last night and discovered a whole other dimension of experience. Aside from the sheer brilliance of songwriting and musicianship, it was recorded and mixed REALLY well. “Go” is right up there with “Dark Side of the Moon” in that regard.

And for those who have heard and enjoyed this style of music before, you might expect that much of what you hear would come from electronic loops or digitally created sounds. While Jónsi is credited with playing a sampler on the record, the lion share of sound comes from humans playing acoustic instruments. Strings, brass and winds (all arranged by Nico Muhly) abound, in addition to guitar, piano, ukulele, glockenspiel, kalimba, harp and celeste. It’s as if an orchestra showed up to demonstrate how electronica could be created without need for electricity. It makes for a very organic sound-scape — you can even hear wind players taking deep breaths before long tones. That level of realism has been missing from music for too long.

And what’s more, this is pop music! The melodies are memorable to say the least, and Jónsi didn’t dive into some magic book of complex chords and voicings to write “Go.” The same chords that Lady Gaga and Justin Bieber sing over are in use here, and any of these songs could easily be considered “radio friendly.” One review of the album (via musicomh.com) reads: “A phenomenal record with almost every bar bursting with beauty. Has ‘pop’ music ever sounded this wonderful?”

I’m tempted to answer “no” to that question. It may not be for everyone (nothing is, really), but the unmistakable elements are irrefutable: “Go” is breathtakingly well done, rich in talent and uniqueness, and it challenges that pop music can in fact be made without being watered down to hooks and trendy gimmicks.

Thank you, Jónsi, for your contribution to the beautiful world of music. I plan on seeing you perform “Go” live as soon as possible.

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