Bedroom Community

Valgeir Sigurðsson

Producer and composer Valgeir Sigurðsson has been making musical noise for as long as he can remember, and professionally for over two decades. His formative years in a small Icelandic village proved fertile soil for his forays into self-taught recording technology, constantly refining his own recording artistry and composition, with three solo albums to his name, Ekvílibríum (2007), Draumalandið (2010) and Architecture of Loss (2013). Valgeir studied classical guitar and in 1991 he earned a ‘Tonmeister' degree from London’s SAE Institute. 

Valgeir is the founder of the Bedroom Community record label and Greenhouse Studios in Reykjavík, where he has established an influential sonic signature with recording techniques that push the boundaries of contemporary and neo-classical music production. Frequently pairing acoustic instruments with electronics, his scores have been performed by the likes of The Iceland Symphony Orchestra, Alarm Will Sound, Crash Ensemble, Chiara Quartet, City of London Sinfonia and Nordic Affect.

Works for theatre and dance include music for directors Falk Richter and James Dacre, and choreographers Stephen Petronio, Pieter C. Scholten and Emio Greco. Valgeir has also written music for film and TV, including the environmental documentary Draumalandið (Dreamland) by Icelandic author Andri Snær Magnason, from which his most frequently performed orchestral work, the Dreamland Suite for Orchestra, is drawn. Wide Slumber for Lepidopterists, Valgeir's opera based on text by Canadian poet A. Rawlings, was staged at the Reykjavík Arts Festival in 2014. Scored for 3 singers; Alexi Murdoch, Sasha Siem and Ásgerður Júníusdóttir, Wide Slumber for Lepidopterists won the Music Theatre Now 2016 award.

His career began flourishing in 1998 when he was hired by Björk as engineer and programmer for Lars Von Trier’s Dancer in the Dark soundtrack, a monumental project that combined Valgeir’s passion for electronic, orchestral and film music. The soundtrack’s “I’ve Seen It All,” Björk’s duet with Thom Yorke, was nominated for an Academy Award for Best Original Song. Valgeir’s musical relationship as one of Björk’s primary studio collaborators from 1998 to 2006 thrived through contributions to her albums Selmasongs, Vespertine, Medúlla, and Drawing Restraint 9. A prolific collaborator, he works constantly with others, having produced and mixed every Bedroom Community release as well as participating in production of albums with musicians such as Bonnie ‘Prince’ Billy, Feist, Anohni (Antony Hegarty), Tim Hecker, CocoRosie, Sasha Siem and Damon Albarn. His mastering credits include Oneohtrix Point Never, Alarm Will Sound and yMusic, to name a few.

In all of his projects, Valgeir bends and blends familiar sounds to expose the new within the known, lending depth to pop and mainstream music through care and an ear for esoteric, eclectic sonic experimentation. His aural oeuvre and collaborative contributions collide organic with synthetic, acoustic with digital, connection with isolation, and domestic with ethereal – resulting in a body of work ripe with emotion, curiosity, and humanity.  

Credits include: Damon Albarn, Sam Amidon, Rafiq Bhatia, Bonnie 'Prince' Billy, Björk, Daníel Bjarnason, Ane Brun, Call me Kat, Camille, CocoRosie, Feist, Ben Frost, Hildur Guðnadóttir, Hilary Hahn & Hauschka, Kate Havnevik, Alias Hilsum, Howie B, Jóhann Jóhannsson, Helgi Jónsson, Kronos Quartet, Ingrid Lukas, Machine Translations, Mia Maestro,The Magic Numbers, Magga Stína, Maps, Megas, Dan Michaelson & The Coastguards, Motion Boys, Erica Mou, Mr.Fogg, Nico Muhly, múm, Kate Nash, Njúton, Olivia Pedroli, Puzzle Muteson, Quarashi, Reykjavík!, Sigur Rós, Sleeping Dog, Slowblow, Sprengjuhöllin, Stars Like Fleas, Aaron Thomas, Unun, Wildbirds & Peacedrums, yMusic...


Photo by Magnus Anderson

What the press says

Dissonance is a masterful piece of work.

The expansive title track makes a direct reference to Mozart’s String Quartet No. 19, commonly called the “Dissonance” quartet (thanks to the overlapping, chromatic lines that are present during its opening). Valgeir’s intention was to stretch Mozart’s initial gambit into a much longer piece. As an experiment, this seems promising.

Seth Colter Walls — Pitchfork (April 25th 2017) ★★★★★★★ Read all reviews

That push and pull informs the melodic—and often dark—Dissonance. To gain control over every element of the album’s eight compositions, Sigurðsson recorded string players in small groups before layering the audio to create a full orchestra. The resulting sound is both lush and surreal, with Sigurðsson likening the result to walking around a concert hall during a performance—zooming in on whatever sound catches your ear.

Laura Studarus — Bandcamp (April 25th 2017) Read all reviews

It can be like tasting Campari or oysters for the first time. Many people might have a knee-jerk reaction and shudder or spit it out, but then gradually discover depth and richness in the taste and texture. You begin to sense the harmony and noise that on first listen can seem impossible to navigate, and start hearing further and deeper into it.

Richard Allen — A Closer Listen (April 25th 2017) Read all reviews

Dissonance embodies, almost by definition, the idea of things falling apart, a feeling of unrest, of issues unresolved, of disagreement. Sigurðsson offers that and more over the course of three symphonic works that are by turns dense and bleak yet magisterial. Don’t bother searching for even the slimmest shaft of sunlight.

Tom Huizenga — NPR Music (April 25th 2017) Read all reviews

Valgeir’s solo work could be categorized as classical, but the use of electronic technology makes it difficult to pigeonhole. ‘Dissonance’ is his first solo album since 2012’s ‘Architecture of Loss’, and features large-scale works drawing inspiration from apocalyptic themes, while also displaying his eye for detail and texture.

Steindór Grétar Jónsson — The Reykjavík Grapevine (April 25th 2017) Read all reviews

The result might evoke the smeared and impenetrable effect of György Ligeti’s “micro-polyphony.” Tension builds until 14 minutes in, when there is a breakthrough of warm consonant sunlight.

Peter Ellman — Exclaim! (April 28th 2017) ★★★★★★ Read all reviews

Valgeir Sigurðsson created true peace in Dissonance. It’s not easy to make an album so full of emotion but so empty at the same time.

Dylan Yadav — Immortal Reviews (April 28th 2017) Read all reviews

Tension permeates the work in the way it juxtaposes the elegant sonority of the viola da gamba and the dissonant effect produced by the multiple pitches, as well as in the constant fluctuation between an adherence to classical form on the one hand and a glacial deconstruction of it on the other.

Textura (April 28th 2017) Read all reviews

‘Dissonance’ is a meticulously constructed LP, all emotional strings tweaked with electronic manipulation.

Valgeir Sigurðsson has created a masterpiece with his latest effort, Dissonance.

Slavko Bucifal — The Line of Best Fit (June 28th 2017) ★★★★★★★★★ Read all reviews

The premise of the piece is that a series of oblique smells outline a narrative about the impact of industrialisation, and the contrast makes for arresting listening.

Clash (December 7th 2016) Read all reviews

The music [...] can sound chill and eerie: there’s singing, echoing, rasping, crackling. At times, the piano emits single, spaced-out notes that sound like water dripping resoundingly on ice in a momentary thaw.

Arts Journal (June 21st 2012) Read all reviews


New York Press (June 21st 2012) Read all reviews

Cool and haunting.

danceviewtimes (June 21st 2012) Read all reviews

A spare, melancholy, original score.

Solomons Says (June 21st 2012) Read all reviews

“…a staggeringly beautiful collection of heavyweight, noise-inflected classicist compositions….Fascinating and adventurous, we have a welcome foil to the overtly pretty side of modern classical music and a superb body of work in its own right.”

Squealer (August 22nd 2012) Read all reviews

...Sigurðsson appears to bridge the gap between the primarily electronic textures and ambience of his debut and the sweeping orchestral feel of his second album to create a vastly different set up, which intrigues and fascinates in equal measures.

The Milk Factory (September 12th 2012) ★★★★★★★★★★ Read all reviews

...brilliantly harrowing

The Wire (September 14th 2012) Read all reviews

...a gorgeous album

Erik Otis — Sound Colour Vibration (September 14th 2012) Read all reviews

...Architecture of Loss is so dense, subtly varied and even ambiguous that to try and tie it down is an exercise in futility. Best to relax and bask in the numerous moments of touching, and troubling, beauty that run through its 10 mini-suites.

The Liminal (September 17th 2012) Read all reviews

The execution of production is second to none and bears all the hallmarks of [Valgeir’s] visceral, expansive sound design across its 10 diverse and striking parts.

Boomkat (September 18th 2012) Read all reviews

For Architecture Of Loss [Valgeir’s] turned off the computer and gone straight for your heart with strings. The result is, as you can imagine, rather downbeat but delightful in ways that you’d expect from an Icelandic man with such a resume.

Drowned In Sound (September 20th 2012) Read all reviews

A mind-numbingly beautiful take on your neoclassical thing utilising piano, wonderfully evocative viola/violin and plenty of…space.

Norman Records (September 21st 2012) ★★★★★★★★★★ Read all reviews

Architecture Of Loss is moving, beautiful and thought-provoking. It commands your attention, admiration and respect, transcending the noises in the speakers, becoming something that symbolises loss and grief through the medium of music.

Larry Day — Bearded Magazine (September 21st 2012) Read all reviews

“Architecture of Loss” offers a powerful and philosophically driven narrative at once sublime and disconcerting.

Q2 (September 24th 2012) Read all reviews

An album at once lyrical and avant-garde, full and concise, epic and contemplative, melodic and noisy…

Indie Rock Mag (September 25th 2012) Read all reviews

Architecture of Loss pits gravely emotive chamber music against furtive electronic frequencies.

Brian Howe — Pitchfork (September 28th 2012) ★★★★★★★ Read all reviews

Architecture of Loss is a leap forwards in sound and form for Valgeir Sigurðsson, a massively confident statement, icily beautiful. Recommended!

John Boursnell — Fluid Radio (September 30th 2012) Read all reviews

Sigurðsson has created a soundscape that is coherent, timeless, and thrilling…This album is sparse yet deeply layered, foreboding yet hopeful, dense yet melodic. It is, quite simply, beautiful, heartwarming and a masterpiece.

Jez Collins — PopMatters (December 7th 2012) ★★★★★★★★★ Read all reviews

On Architecture Of Loss [...] Sigurðsson’s sound is even more mature, reflective and measured…As with the rest of Bedroom Community’s quality catalog, this is not an album to be missed.

Headphone Commute (December 18th 2012) Read all reviews

“ exquisite, often programmatic work in instrumental and digital processes. Built on a ballet, the sense of movement and gesture is intact even in its sparest moments.”

Create Digital Music (December 26th 2012) Read all reviews

“ indulgence in the best sense…Architecture of Loss lives up to its title as an aural meditation on not just loss but destabilization, an architecture coming apart.”

Ned Raggett — AllMusic (January 3rd 2013) Read all reviews

A true musical creation from one of music’s most gifted and essential modern composers.

Fractured Air (January 24th 2013) Read all reviews

I’ve fallen in love with the LP

Stereophile (February 22nd 2013) Read all reviews

 Here, Sigurðsson adopts a restrained approach to the soundtrack to a particularly grave film, and he does so with great lucidity, underlying the content with powerful yet discreet touches. His greatest achievement is to manage to give the music an identity away from the images it was written for.  

The Milk Factory (February 24th 2010) ★★★★★★★★★ Read all reviews

 On Draumalandid, a soundtrack for a new Icelandic environmental documentary, Valgeir Sigurðsson goes the extra mile to produce work that stands up against the best of its genre.  

Brian Howe — Pitchfork (March 3rd 2010) ★★★★★★★★ Read all reviews

Sigurðsson’s touch is at its most precise here, crafting an emotional weight that is moving, but not overstated. With such a keen ear for composition and flow, Sigurðsson has created a score that sounds remarkably evocative of the film’s main themes, while still able to stand alone as an album. At the very least, Draumalandið is another brilliant showcase of Bedroom Community’s burgeoning potential.    

“Draumalandið is a forceful and poignant piece of work, and as part of the larger film project its quite outstanding.”

Matt Poacher — The Line of Best Fit (March 16th 2010) Read all reviews

“Starting with a vocal number and ending with harrowing bombast, this soundtrack covers a lot of ground with grace…”

Greg Argo — Adequacy (June 22nd 2010) Read all reviews

“...everything about this collection of feelings, emotions and resonant creative constructions is pretty much immaculate.”

Joe Shooman — Grapevine (September 2nd 2010) Read all reviews

"The strength of Ekvílibríum is in the organic way [Sigurðsson] weds the electronic to the human... The result is a singular album, as ornate as it is direct."

Alex Waxman — The Fader Magazine (May 1st 2007) Read all reviews

"...almost collapses under the power of its own trembling beauty... Valgeir Sigurðsson delivers his bonded masterpiece... prepare to be dazzled."

George Bass — god is in the tv (June 21st 2007) ★★★★★★★★★★ Read all reviews

"Valgeir Sigurðsson is the most welcoming and thoughtful of hosts and, as he leads his companions through various narratives, he orchestrates one of the most exhilarating and perfect records you’ll hear this year."

themilkman — The Milk Factory (August 3rd 2007) Read all reviews

"an album for all connoisseurs of recorded sound, marrying exceptional electronic detail with real instrumentation on a grand scale."

Boomkat — Boomkat (September 1st 2007) Read all reviews

"...this is wonderful stuff"

Danny Clark — The Times (September 29th 2007) ★★★★★★★★ Read all reviews



Valgeir Sigurðsson & Jodie Landau - (live on KEXP)

Valgeir Sigurðsson & Jodie Landau performing live at Greenhouse Studios for KEXP. Recorded October 31, 2016.

Audio Engineers: Kevin Suggs & Matt Ogaz
Audio Mixer: Matt Ogaz
Cameras: Jim Beckmann, Alaia D’Alessandro, Scott Holpainen, Luke Knecht & Justin Wilmore
Editor: Justin Wilmore

Between Monuments

‘Between Monuments’ by Valgeir Sigurðsson
(Architecture Of Loss, 2012).

Video directed by Thomas Pons (prod : L’ogre).
Additional Animation:
Julie Stephen Chheng // Natalianne Boucher // Sarah Escamilla.

Between Monuments (live)

“Between Monuments” from Valgeir Sigurðsson’s Architecture Of Loss.
Performed live at Parterre, Basel by Valgeir Sigurðsson with Liam Byrne.
Video by Gordon Bell (

Everything Everywhere All The Time - Trailer

This is a trailer for the Bedroom Community film Everything Everywhere All The Time.
With Sam Amidon, Ben Frost, Nico Muhly and Valgeir Sigurðsson.
Also featuring Nadia Sirota.
Directed by Pierre-Alain Giraud.

Sam Amidon - How Come That Blood (live)

A live performance of Sam Amidon’s How Come That Blood. Footage shot in Brussels on the Bedroom Community’s Whale Watching Tour. Also featured in this piece are Ben Frost, Nico Muhly, Valgeir Sigurðsson.

Shot and edited by Pierre-Alain Giraud and Stuart Rogers.

Whale Watching 2010 Tour Trailer

Sam Amidon, Ben Frost, Nico Muhly and Valgeir Sigurðsson return with this wondrous concert-series through Europe, starting at Berlin’s Admiralspalast on the 18th April and ending in The National Theater in Reykjavík on 16th May. Also featuring Nadia Sirota.

Video by Pierre-Alain Giraud & Stuart Rogers.

Ben Frost - Híbakúsja

Performed during the Whale Watching Tour 2009, Brussels.
With Sam Amidon, Ben Frost, Nico Muhly, Valgeir Sigurðsson. Also featuring Nadia Sirota.
Video by Pierre-Alain Giraud & Stuart Rogers.

Valgeir Sigurðsson - Past Tundra

Whale Watching Tour 2009 in Leipzig.
Valgeir Sigurðsson with Sam Amidon, Ben Frost and Nico Muhly.
Also featuring Nadia Sirota.
Video by Stuart Rogers and Pierre-Alain Giraud.

Whale Watching Tour 2009

Sam Amidon, Ben Frost, Nico Muhly and Valgeir Sigurðsson. Also featuring Nadia Sirota.
European tour November 2009.
Video by Pierre-Alain Giraud and Stuart Rogers.

Valgeir Sigurðsson & Dawn McCarthy - Winter Sleep

Winter Sleep by Valgeir Sigurðsson featuring Dawn McCarthy. From the album Ekvílibríum.
Video by Pierre-Alain Giraud.

Valgeir Sigurðsson & Bonnie ‘Prince’ Billy - Evolution Of Waters

Song by Valgeir Sigurðsson featuring Bonnie ‘Prince’ Billy. Video director/animator: Una Lorenenzen

Ekvílibríum - Preview Trailer #2

The second preview trailer from Valgeir Sigurðsson’s ‘Ekvílibríum’. This one features vocals by J. Walker and Bonnie ‘Prince’ Billy.

Ekvílibríum - Preview Trailer #1

A preview of the music from Valgeir Sigurðsson’s album ‘Ekvilibrium’ released by Bedroom Community. A behind-the-scenes look into the recording process.

Hi-res photo

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