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Amazon.co.uk review
Sigur Rós--the sound of snow-capped peaks. Or winged things flocking over vast plains. Or salmon making that final courageous, muscular leap upstream, homeward bound. Ever since the BBC so aptly enlisted the help of their "Hoppipolla" single to theme their groundbreaking natural history series Planet Earth, the ever-ethereal Icelandic band have become somewhat typecast, finding themselves conducting the awe across the backdrops of nearly every other programme in that broad genre. And with that came the danger that all which followed would automatically become an instant cliche. And though their last album Takk saw a slowing of their evolution in favour of solidifying the established sound in accessible earfuls, the reassuringly unpronounceable Með Suð í Eyrum Við Spilum Endalaust (which translates as "with a buzz in our ears we play endlessly") sees enough of a stylistic twist to keep things moving, without undercutting this new approachability. Where previously they sounded untouched by human hands, all alien post-rock abstractions, they now sound much more organic, sometimes literally like men playing instruments in a room. Albeit pensively, and extraordinarily. It is a perky record, attentive and exquisite, familiar but not derivative. The rhythmically adventurous "Gobbledigook" reminds of Brooklyn experimentalists Battles, unplugged, the xylophone heavy "Inní Mér Syngur Vitleysingur" is this album’s "Hoppipolla" and "Ara Batur" is trembling, lonely and eventually triumphant. "Festival", the album’s centrepiece, melds the old and new Sigur Rós dramatically over nine majestic minutes and must number amongst the best moments of their career. --James Berry
Review
Whether or not Sigur Ros' fifth album will be the commercial breakthrough some are hoping for is, in many ways, a moot point. It's a thing of beauty and that's all we really need to know. But what else to make of an album that has already been variously deemed an uncharacteristic blast of Icelandic sun and music to die in a blizzard by? Perhaps the clue lies in the title of the first track, Gobbledigook. For those unfamiliar with Icelandic, the lyrics sound, as ever, utterly mysterious, and like the best glossolalia, this music is open to a variety of interpretations.
What you hear in these eleven tracks conjures eclectic feelings; a salmon spawning upstream; a grandmother climbing a mountain; a schoolchild in a dream classroom; sleepy, awake, like a grail knight, weightless, ascending, bursting, relieved, dead, happy. And it will no doubt be different for each listener, perhaps even each listen. The last song is actually sung in English, but by this point that sounds as strange as anything else.
More a development than a departure, the album blends a lighter, more dynamic approach with out-there creative impulses. Produced by Flood and assisted by a string quartet and brass section (as well as, on Ara Batur, the London Sinfionietta and the London Oratory Boys Choir), the album was recorded in its entirety this year: impressive speed, reflected in the joyous, unfettered arrangements and the sheer plasticity of the music.
Possibly, if Sigur Ros had intended to take over the world, they might have translated their album title into its English version: 'With a buzz in our ears we play endlessly'. Possibly not. No matter; this music to live - and die - by; as good on the bus or the school run as it would be watching the Northern Lights. Sigur Ros remain in a wonderful universe of their own. --Tim Nelson
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Customer Reviews
Most Helpful Customer Reviews
50 of 55 people found the following review helpful
Format:Audio CD
Sigur Rós's astonishing 1999 LP, "Ágaetis Byrjun", was unreplicable. In the years since, they've made catchier songs and noisier songs; but nothing quite matches the otherworldly ambience of their early masterpiece. "Með suð í eyrum við spilum endalaust" marks a change of direction. In short, it's the first time Sigur Rós have sounded like a band, rather than a school of whales at the bottom of a fjord.
The first four songs are fresh, sunkissed, acoustic, playful: you'd hardly believe it's still Sigur Rós, but it all works beautifully. The message is clear: this is a fun album, a soundtrack for summer, for festivals, for beaches, for running naked across roads. After this brilliant opening, the album loses momentum a little (in particular, "Ára bátur" is overlong and overblown, with choirs and orchestras battling with the vocals for space in your ears), but it's all done with enough verve to keep your finger away from the skip button. "Með suð" is by far Sigur Rós's most accessible record, and is a fine place for newcomers to start.
The bottom line is that "Með suð" is good news: the successful sonic evolution of one of the most consistently interesting bands in the world today.
The first four songs are fresh, sunkissed, acoustic, playful: you'd hardly believe it's still Sigur Rós, but it all works beautifully. The message is clear: this is a fun album, a soundtrack for summer, for festivals, for beaches, for running naked across roads. After this brilliant opening, the album loses momentum a little (in particular, "Ára bátur" is overlong and overblown, with choirs and orchestras battling with the vocals for space in your ears), but it's all done with enough verve to keep your finger away from the skip button. "Með suð" is by far Sigur Rós's most accessible record, and is a fine place for newcomers to start.
The bottom line is that "Með suð" is good news: the successful sonic evolution of one of the most consistently interesting bands in the world today.
4 of 4 people found the following review helpful
Format:Audio CD
After finding out that music maestro 'Flood' was to produce their 5th album, I was a little,(some may say justified) cautious about this new offering from Icelandic cloud landscapers, Sigur Ros.
Their new and latest free download Gobbledigook, took me somewhat by surprise, it's a brave move. I couldn't help but think bands like 'The Flaming Lips' could carry this off with absolute ease, but as a Sigur Ros track, for me, didn't really work.
I couldn't help but think it's like someone taking a wild endangered animal, sticking it in a cage and getting it to perform tricks for a paying audience. Thankfully, the other tracks are as good as anything they have done previous. Some Sigur Ros purists still may be a little disappointed with its more structured sound, but for me, I'm happy to report, it still sounds pretty darn good.
I think it's a fine mix of lets try something new/with not wanting to alienate their core audience, the only slight problem for me is that at times it seems a little obvious and slightly mechanical. Compared to their usual style of organically producing stunning backdrops for movies that have never been made, Með suð í eyrum við spilum endalaust, may be a tad forced, I like my Sigur Ros tracks less obvious, taking something different from them every time I hear them.
Having said that, it isn't a criticism, just a personnel preference.
I read a review that said "some of the tracks sound a little OTT", couldn't help but laugh when you consider this is a band who live in Iceland, record music in churches and caves and sing in a made up language no one can decipher.
Sigur Ros remain superb, the back lash may have started, but if they had continued doing another Takk or ( ), the critical damage could have been far worst. At least it proves that Sigur Ros are not beyond criticism like some suggested. Sit back and enjoy, tracks Ára bátur & Festival are an absolute treat. Over blown syrup? .. yes, maybe, but isn't that why we like them?
Their new and latest free download Gobbledigook, took me somewhat by surprise, it's a brave move. I couldn't help but think bands like 'The Flaming Lips' could carry this off with absolute ease, but as a Sigur Ros track, for me, didn't really work.
I couldn't help but think it's like someone taking a wild endangered animal, sticking it in a cage and getting it to perform tricks for a paying audience. Thankfully, the other tracks are as good as anything they have done previous. Some Sigur Ros purists still may be a little disappointed with its more structured sound, but for me, I'm happy to report, it still sounds pretty darn good.
I think it's a fine mix of lets try something new/with not wanting to alienate their core audience, the only slight problem for me is that at times it seems a little obvious and slightly mechanical. Compared to their usual style of organically producing stunning backdrops for movies that have never been made, Með suð í eyrum við spilum endalaust, may be a tad forced, I like my Sigur Ros tracks less obvious, taking something different from them every time I hear them.
Having said that, it isn't a criticism, just a personnel preference.
I read a review that said "some of the tracks sound a little OTT", couldn't help but laugh when you consider this is a band who live in Iceland, record music in churches and caves and sing in a made up language no one can decipher.
Sigur Ros remain superb, the back lash may have started, but if they had continued doing another Takk or ( ), the critical damage could have been far worst. At least it proves that Sigur Ros are not beyond criticism like some suggested. Sit back and enjoy, tracks Ára bátur & Festival are an absolute treat. Over blown syrup? .. yes, maybe, but isn't that why we like them?
23 of 26 people found the following review helpful
Format:Audio CD
In the year Sigur Ros released their first album "Von", it sold 313 copies. Things have changed a lot in the past decade, and yet, they haven't. Their records are round and they play instruments, but that's about all they have in common with anyone. Their songs still have unique titles, their albums have unwieldy names, their artwork is still uniquely individual : the cover of this sums up the record in an instant : naked men and women running across a road, breaking with convention - not because it is an act of rebellion, but because it is what the heart feels is true.
From the off, Sigur Ros have never been so accessable, and yet it is still, utterly and completely filled with the trademarks of their sound : ascending rhythms, vistas of strings, ethereal otherworldly vocals that soar and elevate, music that eschews the convention of verse / chorus / guitar solo in favour of a unfolding panorama of invention. Sure, all this flowery language is so very 1986-NME-Cocteau-Twins, but then again, about the only thing that is familiar about this record is that you can buy it in shops.
Starting with the rampaging crescendo is "Inni Mer Syngur Vitleysinger" (rough transalation : "I have no idea what this means"), "Meo Suo I Eyrum..." is very possibly the greatest Sigur Ros record yet. It opens like a weird James hit single, then within 17 seconds takes an abrupt left turn into a fluffy Jesus & Mary Chain with a vast chorus. This record hints at a world yet unseen, touches upon the vast possibilities, takes the promises of other music, and leaves them all in the dust. You thought Radiohead were weird? Compared to Sigur Ros, Radiohead are Take That.
The first half of the record is vibrant, uplifting, all drums and choruses and massive swathes of indistinct angels trilling in your ears. The second half is quieter, more reflective, introspective half-seen glimpses of songs, an alien lullaby, or an insomniac sunset seen from the window of a transatlantic jetliner.
In fact, words are pretty much redundant to explain the intricate and unique world this record creates. Unlike any other music I've heard. Sigur Ros is immersive. It's the sound of music you hear on the stairs when two different records are playing at the same time, and you heard a new third, impossible song - and that is Sigur Ros, a world underneath your fingertips you didn't know existed. And its also the closest thing Sigur Ros have ever come to a conventional pop music : at times ("Ara Batur") it sounds like something Coldplay and Brian Eno would reject as far-too-weird. In one respect, Sigur Ros music is a blank canvas - there is no `meaning' except that we make ourselves, no interpretation but that we add. Every listener, every reader, everyone who's ever seen a film brings with them, unwitting or not, their baggage, their interpretation, their world, and creates something that is what the author intended but also, far far more than that. Sigur Ros music is impressionistic, foggy, a musical Rosharch Inkblot Test that provides the listener to create their own paradise and get lost in that forever.
From the off, Sigur Ros have never been so accessable, and yet it is still, utterly and completely filled with the trademarks of their sound : ascending rhythms, vistas of strings, ethereal otherworldly vocals that soar and elevate, music that eschews the convention of verse / chorus / guitar solo in favour of a unfolding panorama of invention. Sure, all this flowery language is so very 1986-NME-Cocteau-Twins, but then again, about the only thing that is familiar about this record is that you can buy it in shops.
Starting with the rampaging crescendo is "Inni Mer Syngur Vitleysinger" (rough transalation : "I have no idea what this means"), "Meo Suo I Eyrum..." is very possibly the greatest Sigur Ros record yet. It opens like a weird James hit single, then within 17 seconds takes an abrupt left turn into a fluffy Jesus & Mary Chain with a vast chorus. This record hints at a world yet unseen, touches upon the vast possibilities, takes the promises of other music, and leaves them all in the dust. You thought Radiohead were weird? Compared to Sigur Ros, Radiohead are Take That.
The first half of the record is vibrant, uplifting, all drums and choruses and massive swathes of indistinct angels trilling in your ears. The second half is quieter, more reflective, introspective half-seen glimpses of songs, an alien lullaby, or an insomniac sunset seen from the window of a transatlantic jetliner.
In fact, words are pretty much redundant to explain the intricate and unique world this record creates. Unlike any other music I've heard. Sigur Ros is immersive. It's the sound of music you hear on the stairs when two different records are playing at the same time, and you heard a new third, impossible song - and that is Sigur Ros, a world underneath your fingertips you didn't know existed. And its also the closest thing Sigur Ros have ever come to a conventional pop music : at times ("Ara Batur") it sounds like something Coldplay and Brian Eno would reject as far-too-weird. In one respect, Sigur Ros music is a blank canvas - there is no `meaning' except that we make ourselves, no interpretation but that we add. Every listener, every reader, everyone who's ever seen a film brings with them, unwitting or not, their baggage, their interpretation, their world, and creates something that is what the author intended but also, far far more than that. Sigur Ros music is impressionistic, foggy, a musical Rosharch Inkblot Test that provides the listener to create their own paradise and get lost in that forever.
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Most Recent Customer Reviews
Sigur Ros do it again
This offering from the Icelanders is noticably different to its predecessors, but is definitely one not to miss. Almost love it as much as Agaetis Byrjun - think that says it all. Read more
Published 4 months ago by lulu
As good as the others
I spent a year working in Iceland, during this time I fell in love with the band and have been listening consistently ever since. Read more
Published 5 months ago by G. Andreou
A perfect blend of slow and beautiful with fast and exciting
I'm puzzled that this kind of music is labelled Indie Rock - it's rather like calling Gorecki's Third Symphony Indie Rock. Read more
Published 5 months ago by Dr. W. H. Konarzewski
In my top 5
This is probably the most accessible and structured album so far - a league away from their debut for sure, but not diluted for the masses which is refreshing. Read more
Published 13 months ago by Waz-dogg
The Crowning Glory
Sigur Ros, Victory Rose - If the battle is one for my heart, then victory has been achieved. Cascading with energy, power and emotion: this album is the crowing glory to the band... Read more
Published 23 months ago by Mr. George Edward Maier
So good I felt inadequate
This really is superb. So different I could not put it down. Maybe Mozart stirred a little.
Published 24 months ago by Martin Joseph Brown
The essence of lovely music
Sigur Ros are one of those unique groups whose ouevre is both unmistakeable and unclassifiable. To tag it as something like "post-Rock" might conjure up images of gloomy,... Read more
Published on 15 Dec 2009 by N. Black
Relaxing
There is one word to describe this album 'beautiful'.
It is not possible for any individual to not be relaxed to this amazing music. Read more
It is not possible for any individual to not be relaxed to this amazing music. Read more
Published on 23 Sep 2009 by M. E. Hilton
Icelandic four piece deliver more beautiful melancholy
Following on from the bittersweet atmospherics of Takk..., the verbosely titled Með suð í eyrum við spilum endalaust is imbued with essentially the same approach but this... Read more
Published on 24 Jun 2009 by MPWB
Their best yet?
The first truly great moment of this album occurs during track 2 - towards the end the music abruptly stops for a second, then bursts back in, louder and brighter than before. Read more
Published on 5 Mar 2009 by Peter Lee
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