Track List

Gobbledigook

Inní Mér Syngur Vitleysingur

Góðan Daginn

Við Spilum Endalaust

Festival

Með Suð Í Eyrum

Ára Bátur

Illgresi

Fljótavík

Straumnes

All Alright

Sigur Rós ‎– Meo Suo I Eyrum Vio Spilum Endalaust (2xLP)
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Record Label: XL Recordings

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Description

Inspired by the unfettered feeling of the acoustic performances filmed during Heima, Sigur Rós adopted a looser approach in creating their fifth album, 2008's Med Sud I Vio Spilum Endalaust. The album consequently is fresher and more human than anything they'd previously recorded. Rough edges, cracked notes, and the sound of fingers on strings are audible resulting in tracks 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 Vio Spilum Endalaust was truly a groundbreaking album for Sigur Rós. It marked 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 was also 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.