Med Sud I Eyrum Vid Spilum Endalaust

Sigur Rós

Product Details

• Audio CD (June 24, 2008)
• Original Release Date: June 24, 2008
• Number of Discs: 1
• Label: XL Recordings
• ASIN: B001ACY8D2
• In-Print Editions: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.3 out of 5 stars  See all reviews (78 customer reviews)
• Amazon.com Sales Rank: #2,241 in Music (See Bestsellers in Music)

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Editorial Reviews

Review

"As epic as ever... entrancing" --Wired

Product Description

Inspired by the unfettered feeling of the acoustic performances filmed during Heima, Sigur Rós
adopted a looser approach in creating their fifth album Med Sud I Eyrum Vid Spilum Endalaust.
The album consequently is fresher and more human than anything they ve previously
recorded.
Rough edges, cracked notes, and the sound of fingers on strings are audible resulting in tracks
(e.g. Íllgresi ) that prove to be the band's sparsest and most affecting work to date. Worry not
though, plenty of electric guitar can be heard throughout the album ensuring Sigur Rós
commitment to challenging sonic limitations.
Med Sud I Eyrum Vid Spilum Endalaust is truly a groundbreaking album for Sigur Rós. It s the
first time they ve attempted to write, record, mix, release and support (by touring) an album in
the same year. Notoriously known for their laborious writing/recording style and their Icelandic
roots, Sigur Rós decided to record an album outside of Iceland for the first time. Recording,
mixing and mastering sessions took place in such un-Reykjavik cities as New York (Sear
Sound and Sterling Sound), London (Abbey Road and Assault & Battery) and Havana. The
result is pretty much their leave home album, the anti-Heima.
The opening track, Gobbledigook , is a manifesto setter with its shifting/no time signature. On
the last track, All Alright , Sigur Rós find themselves singing a song solely in English for the
first time. The seventh track, Ára Bátur , was performed with a full orchestra and the London
Oratory Boys Choir. This was recorded in one take with no overdubs and the result was 90
people playing at once and just one perfect take. This is their first album working with Flood
(U2, Depeche Mode, PJ Harvey) and the first since their debut to not be recorded with Ken
Thomas. It was a true co-production, one that found Sigur Rós breaking out of old
molds/habits.
The cover artwork is a photo taken from a flyer for Ryan McGinley s most recent photo
exhibition in NYC, I Know Where the Summer Goes , and the image captures perfectly the
spirit of the album, one of free-spirited happiness and exploration.
The band will be touring the US throughout the fall of 2008 to support Med Sud I Eyrum Vid
Spilum Endalaust.

See all Editorial Reviews

Customer Reviews

Most Helpful Customer Reviews

16 of 16 people found the following review helpful:

4.0 out of 5 stars A lighter, exuberant and more dynamic set. I'm loving it, October 30, 2008

By	Gimme_Jazz (Casablanca, Morocco) - See all my reviews

Their fifth album starts in buoyant, wide-eyed pop mode, moves through some twinkling, delicate passages, revisits their usual slow-build post-rock prettiness and reaches an ambitious climax with "Ara Batur", an epic, orchestral requiem recorded with the London Sinfonietta and the London Oratory Boy's Choir, before ebbing away.
To the horror of some of their adoring fans, the CD actually contains a few melodies which one might tentatively describe as pop tunes.
More a development than a departure, the album blends a lighter, more dynamic approach with out-there creative impulses.
The songs are sung in Icelandic, rather than the band's invented language of Hopelandic, and one song, "All Alright", is even performed in English, albeit via the singer Jonsi's gossamer falsetto.
Above all, these songs feel celebratory -- with a gleeful, stomping beat, soaring strings and deliciously rhyming couplets.
It is all pleasing to the ears and immaculately constructed.
Produced by the renowned Flood (U2, Depeche Mode, Smashing Pumpkins) and assisted by a string quartet and brass section, the album was recorded in its entirety this year: impressive speed, reflected in the joyous, unfettered arrangements and the sheer plasticity of the music.
What Sigur Ros have lost in the ringing of fairy bells, they may just gain in the ringing of cash registers.
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".
I'm loving it.

7 of 7 people found the following review helpful:

4.0 out of 5 stars Deliciously pop., November 28, 2008

By	Jazzy V. - See all my reviews

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.

6 of 6 people found the following review helpful:

3.0 out of 5 stars A tad underdevloped, September 30, 2008

By	IRate - See all my reviews

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.