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Sigur Rós: reception, borealism, and musical style
16 references·1 citing·38 second hop
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References

  • 1999INDIE: THE INSTITUTIONAL POLITICS AND AESTHETICS OF A POPULAR MUSIC GENRE303 cited
  • 2005Islands of the mind: how the human imagination created the Atlantic world302 cited
  • 2006Music Scenes: Local, Translocal, and Virtual.287 cited
  • 2012Song means: analysing and interpreting recorded popular song209 cited
  • 2016Song Means: Analysing and Interpreting Recorded Popular Song159 cited
  • 2011Recorded music: performance, culture and technology143 cited
  • 2005What Is Indie Rock?138 cited
  • 2002The Paradox of Timbre133 cited
  • 2010Authenticity Revisited: The Rock Critic and the Changing Real125 cited
  • 2011Queer Voices112 cited
  • 2006‘Loaded’: indie guitar rock, canonism, white masculinities106 cited
  • 2011The British Pop Dandy: Masculinity, Popular Music and Culture100 cited
  • 2011An Eye for MusicPopular Music and the Audiovisual Surreal100 cited
  • 2011Queer Voices: Technologies, Vocalities, and the Musical Flaw76 cited
  • 2013Subverting the Verse–Chorus Paradigm68 cited
  • 2009Nature and Nation: National Identity and Environmentalism in Icelandic Popular Music Video and Music Documentary

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48 cited

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  • 2020Musical aesthetics below ground: volcanic action and the geosocial in Sigur Rós’s “Brennisteinn”4 cited