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viewing 1 To 11 of 11 items
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CD
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MORR 170CD
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After his collaboration with Sóley and múm's Örvar Smárason for the 2018 album Team Dreams (MORR 150CD/LP), Sad Party sees Sindri Sigfússon take things into his own hands again. As a result of frantic and mostly improvised jam sessions, the nine pop songs are as bittersweet as the title suggests, meandering between Sin Fang's trademark knack for catchy melodies, rich sonic textures, and advanced musical experimentalism. Psychedelic and melancholic at once, it brings Sigfússon's many different musical facets into a consistent and irresistible flow. Sad Party was recorded by Sigfússon alone over the course of three weeks in an old wooden studio in downtown Reykjavík before it was, like so many Icelandic venues in recent times, closed for good thanks to rising rents. "It had a wonderful view, something most music studios do not have," says Sigfússon of the place, where he had spent so much time recording, drinking, and playing table tennis in the past years. Now he locked himself in for three weeks to throw a very last Sad Party. Aiming for the music to be "not too fast and not too slow, not too loud and not too quiet", the songwriter followed a radical stream of consciousness approach for the lyrics. Starting with lush and warm drones, the opener "Planet Arfth" sets the mood for Sin Fang's fifth solo record just perfectly. This is goodbye, the wordless vocals in the background seem to say -- but we're going to make the best of it, counters the slow hip-hop groove that takes center stage midway through the track. Soon giving way for slow and funky dream pop sounds ("Hollow"), Sad Party slowly picks up speed with intricately built rhythms ("No Summer"), piano-driven power pop ("Smother") and even IDM-influenced electronica ("Goldenboy Is Sleeping"), before the second half makes the melancholy that comes with a farewell audible. The bitter follows the sweet. After a wonderfully psychedelic gem ("Happiness"), a hazy mid-tempo rock ballad ("Never Who I Wanna Be") and a shimmering downbeat piece that highlights Sigfússon's abilities as a producer of experimental electronic music ("Cloudjuice"), "Constellation" serves as the perfect coda to the album. With its underwater lo-fi aesthetics and its psychoactive qualities, it ends the album with just the right amount of anthemic ambiguity. Here's to old places, new beginnings and, most of all, Sin Fang!
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LP
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MORR 170LP
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LP version. Includes printed inner sleeve; includes download code. After his collaboration with Sóley and múm's Örvar Smárason for the 2018 album Team Dreams (MORR 150CD/LP), Sad Party sees Sindri Sigfússon take things into his own hands again. As a result of frantic and mostly improvised jam sessions, the nine pop songs are as bittersweet as the title suggests, meandering between Sin Fang's trademark knack for catchy melodies, rich sonic textures, and advanced musical experimentalism. Psychedelic and melancholic at once, it brings Sigfússon's many different musical facets into a consistent and irresistible flow. Sad Party was recorded by Sigfússon alone over the course of three weeks in an old wooden studio in downtown Reykjavík before it was, like so many Icelandic venues in recent times, closed for good thanks to rising rents. "It had a wonderful view, something most music studios do not have," says Sigfússon of the place, where he had spent so much time recording, drinking, and playing table tennis in the past years. Now he locked himself in for three weeks to throw a very last Sad Party. Aiming for the music to be "not too fast and not too slow, not too loud and not too quiet", the songwriter followed a radical stream of consciousness approach for the lyrics. Starting with lush and warm drones, the opener "Planet Arfth" sets the mood for Sin Fang's fifth solo record just perfectly. This is goodbye, the wordless vocals in the background seem to say -- but we're going to make the best of it, counters the slow hip-hop groove that takes center stage midway through the track. Soon giving way for slow and funky dream pop sounds ("Hollow"), Sad Party slowly picks up speed with intricately built rhythms ("No Summer"), piano-driven power pop ("Smother") and even IDM-influenced electronica ("Goldenboy Is Sleeping"), before the second half makes the melancholy that comes with a farewell audible. The bitter follows the sweet. After a wonderfully psychedelic gem ("Happiness"), a hazy mid-tempo rock ballad ("Never Who I Wanna Be") and a shimmering downbeat piece that highlights Sigfússon's abilities as a producer of experimental electronic music ("Cloudjuice"), "Constellation" serves as the perfect coda to the album. With its underwater lo-fi aesthetics and its psychoactive qualities, it ends the album with just the right amount of anthemic ambiguity. Here's to old places, new beginnings and, most of all, Sin Fang!
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CD
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MORR 149CD
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Leaving the rooted flora behind, Sin Fang, project of Sindri Már Sigfússon, glides into uncharted territory with his fourth full-length entitled Spaceland - a collection of electrified tunes that pack a soft punch. It's his idiosyncratic take on future R&B, one that doesn't mince matters and features various guests including Jónsi, Sóley, Pascal Pinon's Jófríður Ákadóttir and Farao. Spaceland is a deeply personal and 100% contemporary take on electronic pop. Recorded between L.A. and Reykjavík, it's an album that feels like diary entries spelled out like Billboard news headlines. But it's also a self-therapy made strangely infectious thanks to entirely new production means: Dark lyrics over electrified euphoria, personal confessions set to sizzling hi-hats and heavy bass action. "I wrote most of the lyrics after I started having panic attacks," he explains, adding that the album title actually refers to the headspace he was in during that period when he felt like he "was dying all the time". Mostly written on the piano, entirely self-recorded and self-produced (with support from Jónsi & Alex), Sin Fang thus ventures further into the direction he took with his new project Gangly. The same kind of push-and-pull, the same R&B-paced phrasings, a similar kind of juxtaposition is at work in "Not Ready For Your Love", a line Sindri repeats over and over, all sweet-voiced surrender set to uplifting arrangements and synthetic fields of bliss. "Lost Girl" oscillates between minimalism and experimentalism, magma-paced introspection and sonic sunlight that belies the darkness. Former Seabear band-mate Sóley is at his side for another slice of epic (anti migraine) pop ("Never Let Me Go"), while Norwegian singer Farao is another female sidekick in the land of loops and swathes: Drawing a face in the melting snow for "Please Don't", he picks up the pace with a hubbub of voices over a glacier-like arrangement. Towards the end, there's more playful beats ("Branches"), more open space ("Snowblind"), and finally, a homecoming of sorts: Slow moving album closer "Down" feat JFDR (that's Jófríður Ákadóttir) sounds like rays of hope rediscovered. Drifting too far away from the sun, it can get mighty cold out (and in) there, gloomy and cold, and yet that free-floating state of zero gravity can also lead to entirely new places.
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LP
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MORR 149LP
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LP version. Includes download code. Leaving the rooted flora behind, Sin Fang, project of Sindri Már Sigfússon, glides into uncharted territory with his fourth full-length entitled Spaceland - a collection of electrified tunes that pack a soft punch. It's his idiosyncratic take on future R&B, one that doesn't mince matters and features various guests including Jónsi, Sóley, Pascal Pinon's Jófríður Ákadóttir and Farao. Spaceland is a deeply personal and 100% contemporary take on electronic pop. Recorded between L.A. and Reykjavík, it's an album that feels like diary entries spelled out like Billboard news headlines. But it's also a self-therapy made strangely infectious thanks to entirely new production means: Dark lyrics over electrified euphoria, personal confessions set to sizzling hi-hats and heavy bass action. "I wrote most of the lyrics after I started having panic attacks," he explains, adding that the album title actually refers to the headspace he was in during that period when he felt like he "was dying all the time". Mostly written on the piano, entirely self-recorded and self-produced (with support from Jónsi & Alex), Sin Fang thus ventures further into the direction he took with his new project Gangly. The same kind of push-and-pull, the same R&B-paced phrasings, a similar kind of juxtaposition is at work in "Not Ready For Your Love", a line Sindri repeats over and over, all sweet-voiced surrender set to uplifting arrangements and synthetic fields of bliss. "Lost Girl" oscillates between minimalism and experimentalism, magma-paced introspection and sonic sunlight that belies the darkness. Former Seabear band-mate Sóley is at his side for another slice of epic (anti migraine) pop ("Never Let Me Go"), while Norwegian singer Farao is another female sidekick in the land of loops and swathes: Drawing a face in the melting snow for "Please Don't", he picks up the pace with a hubbub of voices over a glacier-like arrangement. Towards the end, there's more playful beats ("Branches"), more open space ("Snowblind"), and finally, a homecoming of sorts: Slow moving album closer "Down" feat JFDR (that's Jófríður Ákadóttir) sounds like rays of hope rediscovered. Drifting too far away from the sun, it can get mighty cold out (and in) there, gloomy and cold, and yet that free-floating state of zero gravity can also lead to entirely new places.Leaving the rooted flora behind, Sin Fang, project of Sindri Már Sigfússon, glides into uncharted territory with his fourth full-length entitled Spaceland - a collection of electrified tunes that pack a soft punch. It's his idiosyncratic take on future R&B, one that doesn't mince matters and features various guests including Jónsi, Sóley, Pascal Pinon's Jófríður Ákadóttir and Farao. Spaceland is a deeply personal and 100% contemporary take on electronic pop. Recorded between L.A. and Reykjavík, it's an album that feels like diary entries spelled out like Billboard news headlines. But it's also a self-therapy made strangely infectious thanks to entirely new production means: Dark lyrics over electrified euphoria, personal confessions set to sizzling hi-hats and heavy bass action. "I wrote most of the lyrics after I started having panic attacks," he explains, adding that the album title actually refers to the headspace he was in during that period when he felt like he "was dying all the time". Mostly written on the piano, entirely self-recorded and self-produced (with support from Jónsi & Alex), Sin Fang thus ventures further into the direction he took with his new project Gangly. The same kind of push-and-pull, the same R&B-paced phrasings, a similar kind of juxtaposition is at work in "Not Ready For Your Love", a line Sindri repeats over and over, all sweet-voiced surrender set to uplifting arrangements and synthetic fields of bliss. "Lost Girl" oscillates between minimalism and experimentalism, magma-paced introspection and sonic sunlight that belies the darkness. Former Seabear band-mate Sóley is at his side for another slice of epic (anti migraine) pop ("Never Let Me Go"), while Norwegian singer Farao is another female sidekick in the land of loops and swathes: Drawing a face in the melting snow for "Please Don't", he picks up the pace with a hubbub of voices over a glacier-like arrangement. Towards the end, there's more playful beats ("Branches"), more open space ("Snowblind"), and finally, a homecoming of sorts: Slow moving album closer "Down" feat JFDR (that's Jófríður Ákadóttir) sounds like rays of hope rediscovered. Drifting too far away from the sun, it can get mighty cold out (and in) there, gloomy and cold, and yet that free-floating state of zero gravity can also lead to entirely new places. Comes in gatefold sleeve and includes a printed inner sleeve a download code.
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CD
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MORR 120CD
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Flowers is the third solo album from Icelandic alt-pop singer/songwriter Sin Fang. Although there is a certain reassuring quality to evergreens -- you can rely on them to never drop their foliage -- it's the flowering plants, the ones that bud, blossom, and bloom, which really light up and even define a season. This is exactly what happens on Flowers. Seabear's founder and mastermind unleashes a melodic spring storm and explores the corners of the lush and baroque gardens he spent the last five years in. Following his Half Dreams EP, Flowers is a solo album that opens with a lot of collective chanting, a sense of deep rootedness, togetherness, unity, and shared experience: "We were young boys, smoking in the woods, I showed you how," are the first words Sindri Már Sigfússon sings before leapfrogging across the lawn and switching on the stage lights for his own take of stadium pop. It's so massive, so outspokenly pop when the beat meets the layered vocals and the piano comes in just at the right moment. "I was thinking a lot about pre-teenage and teenage feelings," Sindri explains. "The exaggerated feelings and dramatic thoughts that most teenagers go through: love and rejection, the constant ups and downs... I thought Flowers was a good name for that theme as they are used both for sad and happy occasions." This is a bold statement that's a million miles away from cliché Icelandic indie stuff. There's clearly a ghost at work here as Sigfússon gathers more and more rosebuds and moves from epically marching ("Look At The Light") to overgrown power pop ("Not Enough") and back via lots of oh-uh-oh-uh-oohs (going up and down like distant hills) to fast-paced bliss ("Sunbeam"). "Weird Heart" takes a look at the things one doesn't care about as one gets older ("so many things don't mean a thing to me"), while "Feel See" is a call for like-minded individuals out there, as it moves from section to section, pushing onwards, now hesitant and soft-spoken, hopeful about the answer to the question it poses: "Is there someone that feels like me, that there's nothing to feel or see?" There's lots. To feel. To see. To discover and dive into. At least in this garden there is. Recorded & produced by Alex Somers (producer for Sigur Rós and Jónsi).
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LP
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MORR 120LP
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Gatefold LP version with printed innersleeves; includes download code. Flowers is the third solo album from Icelandic alt-pop singer/songwriter Sin Fang. Although there is a certain reassuring quality to evergreens -- you can rely on them to never drop their foliage -- it's the flowering plants, the ones that bud, blossom, and bloom, which really light up and even define a season. This is exactly what happens on Flowers. Seabear's founder and mastermind unleashes a melodic spring storm and explores the corners of the lush and baroque gardens he spent the last five years in. Following his Half Dreams EP, Flowers is a solo album that opens with a lot of collective chanting, a sense of deep rootedness, togetherness, unity, and shared experience: "We were young boys, smoking in the woods, I showed you how," are the first words Sindri Már Sigfússon sings before leapfrogging across the lawn and switching on the stage lights for his own take of stadium pop. It's so massive, so outspokenly pop when the beat meets the layered vocals and the piano comes in just at the right moment. "I was thinking a lot about pre-teenage and teenage feelings," Sindri explains. "The exaggerated feelings and dramatic thoughts that most teenagers go through: love and rejection, the constant ups and downs... I thought Flowers was a good name for that theme as they are used both for sad and happy occasions." This is a bold statement that's a million miles away from cliché Icelandic indie stuff. There's clearly a ghost at work here as Sigfússon gathers more and more rosebuds and moves from epically marching ("Look At The Light") to overgrown power pop ("Not Enough") and back via lots of oh-uh-oh-uh-oohs (going up and down like distant hills) to fast-paced bliss ("Sunbeam"). "Weird Heart" takes a look at the things one doesn't care about as one gets older ("so many things don't mean a thing to me"), while "Feel See" is a call for like-minded individuals out there, as it moves from section to section, pushing onwards, now hesitant and soft-spoken, hopeful about the answer to the question it poses: "Is there someone that feels like me, that there's nothing to feel or see?" There's lots. To feel. To see. To discover and dive into. At least in this garden there is. Recorded & produced by Alex Somers (producer for Sigur Rós and Jónsi).
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12"
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MORR 118EP
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Sindri Már Sigfússon, better known as Sin Fang presents his new EP Half Dreams, a harbinger of a summer that has yet to come. Only a few seconds in and this is blatantly obvious: the guitar is there, the voice(s), everything is switched on, a-tumble, and it feels like running out into nature after months of hibernation. It might sound like a dream, but Seabear's founder and mastermind hardly ever sounded this joyous and awake.
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CD
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MORR 104CD
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This is the second album by Iceland's new king of lo-fi layered lushness Sindri Már Sigfússon and his solo-project Sin Fang (he dropped the "Bous"). Sigfússon is now already his 4th album release (including 2 records from his other musical outlet Seabear) since 2007. The album oscillates wildly, unearthing glimpses of familiarity -- vintage Flying Nun here, Paw Tracks there and a Belle And Sebastian pop sensibility -- while retaining the stark originality of this uber-talented artist and producer. After having set himself the task of playing all instruments on his debut solo album Clangour (MORR 088CD/LP), this time around Sigfússon wanted to move closer to the sound of a live band and recruited a number of his friends from múm, Amiina and Seabear to record Summer Echoes in his own studio and Sigur Rós' Sundlaugin studio. The arrangements are more band-oriented, grander in scope and more transparent than their predecessor's and there is a diverse breadth of sounds across Summer Echoes' dozen songs, reaching from a heartbreaking intimate piano ballad like "Two Boys" to sudden outbursts of guitar noise in "Bruises." Not even the one-off appearance of synthetic beats in "Sing For A Dream" sound out of place when drenched in Sin Fang's signature layered wash of sound and it is the album's first single, "Because Of The Blood" that encapsulates the essence of this album in a euphoric orchestral pop song that manages to merge epic tune-sculpting with several layers of choir abundance. The fact that Sigfússon did not only write all the music but also was doing most of the recording and production promises a lot for his future and Summer Echoes conveys the feeling that the real story has only just begun: and in fact, a next Sin Fang album is already fully written and Sigfússon shows no willingness to slow down. The artwork for the release was done together with Sigfússon's partner Inga Birgisdóttir.
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LP
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MORR 104LP
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Gatefold LP version. Includes a download code.
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7"
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ANOST 029EP
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Icelandic king of lo-fi layered lushness Sindri Már Sigfússon aka Sin Fang (formerly Sin Fang Bous) brings you a 7" as a foretaste of his album Summer Echoes. "Because Of The Blood" encapsulates the essence of the forthcoming album in a euphoric, orchestral pop song that manages to merge epic tune-sculpting with several layers of choir. "Two Boys" is a heartbreaking ballad, like the essence of pop music in two minutes.
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7"
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ANOST 027EP
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Iceland's Sindri Már Sigfusson used his time off from touring the world with Seabear to write and record an album of his solo project Sin Fang (formerly Sin Fang Bous). The album is preceded by this 7" featuring two all-time-classic non-album conversions: "Landslide" by Fleetwood Mac and Simon & Garfunkel's "The Only Living Boy In New York." Sin Fang's versions withdraw some of the glossy sweetness of the originals and replace it with a pinch of heartbreaking weirdo-folk.
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viewing 1 To 11 of 11 items
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