Med Sud I Eyrum Vid Spilum Endalaust
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Með suð í eyrum við spilum endalaust [Explicit]
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|Audio CD, 10 Apr 2014||
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Publisher: EMILabel: EMIGenre: Music> Rock / Metal> Alternative & Modern RockRelease Date: 2010-11-09Media: 1CDImport Status: LicenseCountry of origin: South KoreaDisc. 1Gobbledigook Inni mer syngur vitleysingurGo?n daginn Vi?spilum endalaustFestival Me?Su?i eyrum Ara Batur Illgresi Fljotavik Straumnes All Alright
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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.
With their latest release there are clear signs that the band wanted to make a different kind of a record. The songs are shorter, more acoustic sounding and generally more upbeat. They've tried to rely less on tried and tested ways of working and moved towards spontaneity and improvisation.
At least half of the album sounds a little different for Sigur Ros especially with the single "Gobbledegook" with its tribal drumming, hand claps and chanting. A couple of the tracks almost border on indie pop which would have been very out of place on the "( )" album from a few years ago.
The rest of the album is on more familiar ground but at the same time it doesn't feel like a band going through the motions. The track "Festival" bridges the two styles of the album by sounding beautifully sad and slow to begin with and then upbeat and euphoric towards the end.
If there was one criticism it's only that taken as a whole it feels more like a collection of songs than a carefully constructed album. Previous releases felt like they had been carefully planned out whilst this one feels more like a collection of songs that they happened to be working on at the time (if this makes sense).
I think it will be interesting to hear what they do next. They've had the courage to try out new ideas so who knows what this will lead to?
There are so many moments within this album that can be considered artistic purity. True music. True brilliance. I can't express in words how much this album means to me, and could mean to anyone who listens to it.
If you are contemplating buying this album then I ask you not to hesitate a moment longer, buy. Don't delay for every second you are without this album is a second you are not living to the full.
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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