Categories :

Similar artists



Electronic/Dance - Released November 8, 2019 | Morr Music


Pop - Released February 1, 2013 | Morr Music

Though the term "folktronica" may have been much maligned by the early 2010s, the style's mix of heartfelt singing and guitars and intricate electronics still resonated as long as it was in the right hands. Sindri Sigfússon's work with Seabear and Sin Fang for Morr Music -- one of the definitive folktronica labels -- was among the most winsome and wistful, and Flowers offers some of his finest music yet. His second Sin Fang album (having dropped the Bous from the project's name for 2011's Summer Echoes) is filled with songs that resemble cuddly giants in their massive size and reassuring sentiments. The earnest songwriting of his previous albums is still here, most notably on the opening track "Young Boys," where Sigfússon's storytelling flair comes to the fore. However, he sounds bigger and bolder than ever on songs such as the lively, rippling "Sunbeam" and "Look at the Light," where warm piano, brass, and strings, as well as what could be an army of twittering toy robots, surround his increasingly confident vocals. He even rocks out a bit on Flowers, with "Everything Alright" serving up fuzzed-out guitars and "See Ribs" whipping up some feedback. Elsewhere, Sigfússon delivers more of the hushed sweetness he mined on Clangour and Summer Echoes on songs like "Feel.See" and "Catcher," though even these songs feel more mature and powerful than their previous counterparts. Still, Flowers' best moments are often the loudest, and they sound all the fresher because they're just as inviting as Sin Fang's more intimate music. ~ Heather Phares

Alternative & Indie - Released March 4, 2011 | Morr Music

Poor Sindri Sigfússon seems to keep getting crowded out; the multi-talented Icelandic alt-popper started Seabear as a one-man band, but before he knew it, he was in the midst of a full-blown ensemble. So the guy tries to get some elbow room for his own ideas and goes solo under the name Sin Fang Bous, creating yet another one-man-band album, Clangour, in 2008. Next thing you know, he's shortening the moniker to Sin Fang and finding himself surrounded by other musicians yet again, including members of Múm and Amiina, on Summer Echoes. Does this mean that Sigfússon will eventually end up having to take a vacation from a fully fleshed-out Sin Fang for another attempt at solo work? Hard to say, but judging from the sound of Summer Echoes, his extracurricular impulses aren't completely separate from the sounds he pursues with Seabear to begin with. Like the latter band's recordings, Summer Echoes is full of hushed, wistful alt-pop; the main difference is that where Seabear goes for a more stripped-down, acoustic-tinged approach, Sin Fang is all about stirring up the dreamy qualities inherent in Sigfússon's music and swirling them into a hazy, psychedelic/shoegazer constellation of sounds. As thick as the atmosphere gets on Summer Echoes, though, melody is still a main concern in the Sin Fang camp, and there's a solid song structure at the heart of all these tracks. Ultimately, it all comes across as sort of an Icelandic equivalent to Mercury Rev, the kind of thing that works equally well underneath a warm summer sun or as the soundtrack to a wintry, windblown day when you're plotting your great escape by building sand castles in your mind. ~ J. Allen

Alternative & Indie - Released February 6, 2009 | Morr Music


Miscellaneous - Released September 16, 2016 | Morr Music

The creation of Seabear founder Sindri Már Sigfússon, Sin Fang (previously Sin Fang Bous) had morphed over the course of three LPs from kaleidoscopic art-folk to colorful but bolder folktronic-pop by 2013's Flowers. Three years later, he leaves behind any remnants of folk and embraces glitchy electropop on his fourth album, Spaceland. Even more of a departure is his R&B spin on the proceedings, which remain branded by his attention to detail. He also stays connected, to a degree, to an indie Icelandic sound with guests like Jónsi and Sóley, as well as like-minded Norwegian musician Farao. The album has its origins in anxiety, as Sigfússon wrote much of it after the onset of panic attacks. So, an otherworldly palette is accompanied by lyrics like "It's hard to breathe when there's no air." Track one, "Candyland," introduces this version of Sin Fang with manipulated vocals alongside whirring mechanical tones, bass, and clicking percussion and hi-hat, as the singer delivers a seductive half-whisper. The song features Sigur Rós' Jónsi, who can be heard on the tune's melodic chorus. Restrained yearning marks the vast majority of the vocals on the album, which are similarly accompanied by a humming atmosphere and sporadic grating sounds that prevent complacency. "Down" features the distinctive rasp of Jófríður Ákadóttir (Pascal Pinon, Samaris) and closes the album with calls for hope and courage. Despite its shiny, mechanical textures, Spaceland is a personal work, not only written at a time of distress -- the LP's cover shows Sigfússon with a plastic bag over his head -- but self-recorded and self-produced ("Oh, I was lonely/But that's the way it's supposed to be"). Like some of the best space-exploration films of the '60s and '70s, the results are full of longing and alienation, and deliver on the album's title. ~ Marcy Donelson