Sigur Rós. You either think they're one of the most important bands of all time and regularly take to the foetal position to listen to them, or you think they've got some nice songs but are just a tad overrated. Indisputably, the Icelanders have been instrumental in regenerating the stale post-rock formula and inspiring tens of copyists - although whether that's a good thing or not depends on which side of the fence you stand.
Lead singer Jónsi Birgisson and his partner Alex Somers have been collaborating artistically under the name Riceboy Sleeps since 2003 (when they released a picture book that later went on exhibition) and their first musical outing also falls under the same banner. Whether or not you enjoy this album will depend on how you approach it; view it as a mere collection of songs, and it'll probably seem overlong (clocking in at over an hour), and slightly self-indulgent. View it as the work of composers, an orchestra (string quartet Amiina make prominent appearances) and a choral group (Kópavogsdætur Choir), and it seems almost minimalist, despite the personnel involved.
'Riceboy Sleeps' definitely benefits from an almost total lack of vocals; apart from the intermittent ghostly murmurs the Kópavogsdætur Choir provide (best heard on the beautifully pure, cathedral-like Boy 1904 and the eerie 'Daníell in the Sea'), this is an album that will lull you into a dreamy, womb-like reverie through music alone. 'Happiness' uses slow-moving swells of string and trickling piano codas to beautiful effect, 'All the Big Trees' could soundtrack a space walk, while Birgisson's hollow falsetto is barely heard on the most Sigur Rós-like track here, 'Indian Summer'.
'Riceboy Sleeps' may not fully convert those who are ardently anti-Sigur Rós, but it's undoubtedly a thoughtful, serene album that doesn't require nearly as much patience to fully enjoy.
