Thanks to the activity of a certain volcano, this show had a frustratingly long time coming. What a way to add further suspense to the night when four musical heavyweights came to one of the country's greatest arts centres. Well finally, on Monday night, the tour caught up and several months of extended waiting boiled down to five minutes of agonizing thumb twiddling, as one member of press, sat in the middle of the stalls, anticipated this unique lineup. Valgeir Sigurdsson, Nico Muhly, Ben Frost and Sam Amidon had once again come together as a collective to play their remarkable music from the Bedroom Community record label, each with their own special contribution as an artist. They began with a piece of music from each musician that Bedroom Community is probably best known for, and provides the beginners guide for their back catalogue; Ben Frost's 'Theory of Machines', a transition between ambient, organic acoustics and intense, processed electronic sounds; Nico Muhly's 'Skip Town', a mechanical, frantic composition, where we see Nico's outstanding abilities as a pianist; Valgeir Sigurdsson's 'Baby Architect', with ethereal manipulations on vocals and strings; Sam Amidon's 'Saro', a beautiful adaptation of an old ballad. From there on and following the next set of songs from Sam's latest album, I See The Sign, each of the quartet excelled in their performances, individually and together, alternating between each others music. Of course, it would be unfair to say that the four of them were at the forefront of the show and that the people accompanying them were mere backing musicians. Each of them have regularly recorded and toured with the Bedroom Community artists in the past and effortlessly stood out in their own performances. The singer and trombonist, Helgi Hrafn Jonsson, sang 'Baby Architect' and 'Kin' with a range that surpasses the vocals on the original recordings. Violinist, Una Sveinbjarnardóttir, and viola player, Nadia Sirota, played heart-thumping solos to 'Honest Music' and 'Keep In Touch'. And throughout the entire show, the double bass of Borgar Magnason rumbled on the surface. The real hair raising moments occurred whenever Ben Frost enforced his electronics. During 'Leo Needs a New Pair of Shoes' and 'Hibakusja' he would use the phenomenal static noise, which features with great impact throughout By The Throat. All the exhilaration from the first listen of that masterpiece of an album came shooting back. Remember the THX sequence that makes peoples' heads explode in the cinema in The Simpsons? The effects that Ben's music had on me that night wasn't a far cry from that. Valgeir and Nico put in an effort during 'The Only Tune' that came close to leaving the same impression as well. 'The Only Tune' is a murder ballad made insanely dramatic by the various percussion and typhoon-like sound effects used by Valgeir, along with Nico's chaotic piano playing, the rhythm of sounds of scraping and shaving knives, and the echo of Sam's loud country voice. I decided that I had seen experimental music at its best when Helgi offered up his head for Nico to scratch for the microphone to pick up as another sound. This group's epic spectacle arrived and left in what felt like ten minutes after my longest wait of the year. It could have lasted three hours and it still would have persisted to flabbergast me. It's incredibly diverse to go from a display of Sam Amidon singing the tranquil 'Way Go Lily', to the whole group playing Valgeir Sigurdsson's climactic 'Past Tundra', and that demonstrates the exceptional calibre of the Whale Watching Tour.