Limited edition deluxe two disc (CD + PAL/Region 2 DVD) individually numbered pressing of their 2008 album contains the album, a DVD including two films plus the banned video to the track 'Gobbledigook' (nominated for Vide... more »o of the Year), a 196-page hardcover cloth-bound book of photographs shot by Eva Vermandel and a unique strip of 16mm film from the 'Gobbledigook' video shoot specially mounted within the front cover of the book! This limited edition set was originally only available through their official website. EMI. 2008.« less
Limited edition deluxe two disc (CD + PAL/Region 2 DVD) individually numbered pressing of their 2008 album contains the album, a DVD including two films plus the banned video to the track 'Gobbledigook' (nominated for Video of the Year), a 196-page hardcover cloth-bound book of photographs shot by Eva Vermandel and a unique strip of 16mm film from the 'Gobbledigook' video shoot specially mounted within the front cover of the book! This limited edition set was originally only available through their official website. EMI. 2008.
"That is what Sigur Ros's 2008 studio album, Með suð í eyrum við spilum endalaust, translates to in English. This album sees the band breaking some new ground. This album is essentially a follow-up to two different Sigur Ros projects: the first being the emotional tour-de-force Takk... and the band's recent documentary, Heima, in which the band travels all over the Icelandic countryside doing shows for the people of the villages, many of them with very stripped down acoustic sets. If you've heard the first single, Gobbledigook, and you think Sigur Ros has sold out, think again. Granted this song is very much outside of their artistic tendencies, but this opening cut is really an outlier on the album. The rest of the album is very much a more optimistic, nonetheless, very Sigur Ros album. While we hear songs of epic scale like "Festival" and "Ara batur," we also hear more folky, stripped down arrangements from the band, most notably in "Illgresi." I think Sigur Ros is trying with this album to appeal to a broader audience without losing their soul to the music industry, and I think they've done it. This is evidenced by the band using more conventional and complicated song structures rather than repeating structures that unfold in an ebb and flow kind of way, varied instrumentation, shorter song lengths, shorter overall album length, and surprisingly enough, one song with ENGLISH lyrics. I think the band has found a niche with this album, being able to appeal to more than the people who listen to what Pitchfork media and Bob Boilen tell them to listen to, and yet, I think Pitchfork media and Bob Boilen will also tell us to listen to them. I think that with Með suð í eyrum við spilum endalaust, the music snobs (of which I am a proud member) and the general public will find common ground. And with the nude frolickers on the cover art, who wouldn't at least be intrigued by this quartet from Iceland led by a guy who prefers to play his guitar with a cello bow?"
An ad for this album in the New Yorker
Charles Wells | Sedona | 07/16/2008
(5 out of 5 stars)
"An ad for the album in the New Yorker, with nudes running across a country road on the cover, caught my eye. I found myself trying to translate the
words on the cover, and I couldn't even figure out the language. Even the script was unusual. It would be weeks before release date but I got to hear this incredibly powerful, yet simple and awesome music, for the first time on the internet, and it was love at first hearing. New to the computer, it was
also the first album purchase via the net. The music was like nothing
I've heard in my seventy seven years. I can't get over that I am hooked on what I thought would be essentially music for young people. This music is for all ages. Songs five, six, and seven are staggeringly beautiful and give me
horripilations and exaltation ever time I hear it. I have not yet listened to other works of Sigur Ros's. But this album contains music that reaches agelessness; stark, brilliant, spellbinding.
For some reason, the DVD would not play on my music system in the one room, but did on another system in the kitchen, and played on my Mac Pro,
where I downloaded it, and will transfer it to the160MG iPod, as soon as I learn how."
Deliciously pop.
Jazzy V. | 11/28/2008
(4 out of 5 stars)
"The fifth studio album from Iceland's supremely inventive dreamscapists is their poppiest outing to date.
A happy album from Sigur Rós sounds like an unlikely concept.
The band specialise in music that is about as sunny as an Arctic winter - vast tundras of sound, dark with melancholy and loneliness. So their fifth album comes as a surprise.
The brisk opener, "Gobbledigook", all jumped-up drums and manic vocals, sets the tone: its poppy energy crackles on through much of this collection.
But then along comes a song that changes everything. From innocuous beginnings - Jónsi Birgisson's fragile voice, a lone piano - "Ára Bátur" swells into an epic, swallowing a whole choir and the London Sinfonietta.
It is so ambitious and successful a piece of music that it threatens to overwhelm the surrounding tracks, making what came before seem frivolous and what follows, almost inconsequential.
No matter: for this one uplifting, goosebump-raising moment, it is worth buying the whole album."
A tad underdevloped
IRate | 09/30/2008
(3 out of 5 stars)
"3 1/2
Starting off briskly, the majestic quartet's up-tempo pop dabblings seem to have not hindered the new album at all, which includes something for everyone. Though they revisit their trademark sonic buildups and offer humble acoustic contrast, a certain balance just does not seem to have been struck in the track sequencing, tapering off in the final stretch, and often sounding like a collection of quite good b-sides instead of their latest release."
It's Good to be Heima
Christopher Portman | Houston, TX | 06/27/2008
(5 out of 5 stars)
"In the Heima video (spelled Heim by iTunes but not by Sigur Rós--for whatever reason?) Sigur Rós spoke of a pervasive yearning and desire to return home--'home' being spoken of in a far deeper sense than simply returning to Iceland. Sure, they were coming off a busy touring schedule and obviously missed the beautifully bleak, dreamscape countryside, along with its lovely people--all which played vital roles in shaping the band's musical identity. I certainly have no difficulty in understanding this sentiment. The music and video footage alone were enough to inspire me to begin planning an eventual trip to that oft forgotten land of mystery and romance. Sigur Rós are obviously quite tied to this place they know so well & who can blame them? Imagine what might have come of their music had they originated from elsewhere? Likely nothing. Therefore, I venture to say that Iceland itself is far more of an influence on their musical identity than anything happening in the chart-obsessed world of pop music. And thank God for that! On the present album, 'Med sud I eyrum vid spilum endalaust,' I hear a refreshing reassessment and even a kind of reestablishment of the band's intrinsic identity with their cultural and musical heritage--something they began to express on the 'Hvarf-Heim' project. I would say the present album is the culmination of that return 'home.' The result is, quite naturally, a sound that's somewhat alien to what we're used to, but it's a sound that remains clearly rooted in the artistic identity of Sigur Rós. The primary changes, I would argue, are merely found in the album's sonic texture--most likely the result of the band having fresh production perspective. Certainly, no 'selling out' occurred. If anything, we're seeing the diametric opposite. But still, some will likely complain about the warmer, more acoustic-focused--dare I say?--'rootsier' sound. However, we must remember that people will nearly always complain when faced with change. Even when that change can so often be a very good thing. Change is a sign of life and of health. Stagnation is a sign of death and dying. When dealing with art that is authentic, pure inner-expression, at some point change becomes a 'necessary evil.' It is an inherent law of art's nature when there is spiritual evolution occurring within the artist. And I don't use the term evil in any traditional sense but more as a description of how the audience can sometimes feel when they're expecting one thing and suddenly experience another. Revulsion can be a natural, if unnecessary, reaction. But give it time. Because these are often the very works that turn out to be the purest and most bountiful step along the creative path. Personally, I think the change of sound is far less than overwhelming. In fact I welcome it with open arms and a fistful of stars. Five honestly doesn't seem quite enough."