Sigur Rós - Með Suð í Eyrum Við Spilum Endalaust Album Review (2008)

When a band create a new language in which to sing, you simply have to take notice. Iceland's Sigur Rós have been creating a blend of other-worldly music and unique vocals since their 1997 debut 'Von'. The band's masterwork 'Takk...' quickly propelled them into the world of adverts and backing music, with every television show jumping on the bandwagon. It is a brilliant and uplifting collection of songs full of soaring strings, stirring piano and Jon Thor Birgisson's engaging voice. So with the release of 'Með Suð í Eyrum Við Spilum Endalaust' (translated as 'with a buzz in our ears we play endlessly'), Sigur Rós have much to live up to.

Opener 'Gobbledigook', the nearest the band has come to a perfect three minute pop record, is all acoustic guitars, thumping drums and la-la-la vocals. 'Inní Mér Syngur Vitleysingur' attempts to capture the soaring elegance of 'Takk...' but is more understated. The strings are simple and never overwhelming as the song rises and falls only once to rise again at the end when the brass, vocals and piano fill your senses. The delicate vocals of 'Góðan Daginn', coupled with fragile instrumentation, create an ethereal and heavenly experience. The song fades for the last minute only to return for a superb but brief choral uplift.

'Við Spilum Endalaust' opens with more drums before Birgisson's vocals and piano send the song soaring. It is this wonderfully crafted juxtaposition between the sparse and the epic that Sigur Rós do so well. If anything the end arrangement gets too cluttered but the song is a definite highlight. The choral Hopelandish vocals of the gargantuan 'Festival' are astonishing. Birgisson is alone in a sea of ambience for the first half. Drums appear at the mid point, transforming the song completely as the momentum and strings build. It is predictable Sigur Rós trickery but it defines their unique and compelling sound. Multiple layers of vocals assault the senses as guitars and drums build again for a tremendous kitchen sink-esque climax. And, strangely, some whistling...

'Með Suð í Eyrum' could be described as effortless; a piano loop, a rolling scraping drum track and more of Birgisson's angelic vocals. 'Ára Bátur' is another huge piece but a simple arrangement of voice and piano. Thankfully we don't get a repeat of 'Festival'. Instead the piano builds slowly and the transformation is more gradual before a full orchestra crash in for the last minute. The effect is breathtaking. 'Illgresi', in contrast, is more of a folk ballad with Birgisson weaving his voice around the guitars. 'Fljótavík' is another brilliant vocal performance set to strings and 'Straumnes' is a short soft interlude. Closing track 'All Alright' is the only song Birgisson sings in English. His delivery is so delicate that it is hard to tell.

The music of Sigur Rós can be described with one word: Beautiful. And 'Með Suð í Eyrum Við Spilum Endalaust' is a beautiful album. It has all the majesty of 'Takk...' but is more restrained and elegant, opting for subtly over big piano loops and huge orchestral arrangements. At times the album gets lost in the band's own world and severs the connection to its audience but for the most part Sigur Rós have lived up to our expectations.

8/10

-- CS (for The Music Magazine June 2008)