Sigur Ros - Med Sud I Eyrum Vid Spilum Endalaust
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Music CD Cover
Artist: Sigur RosEdition: Music CD
CD Release Date: 2008-06-24
Music Label: XL Recordings
Soundtracks:
- Gobbledigook
- Inn?? m??r syngur vitleysingur
- G??dan daginn
- Vid spilum endalaust
- Festival
- Med sud ?? eyrum
- ??ra b??tur
- ??llgresi
- Flj??tav??k
- Straumnes
- All Alright
Free Music Notes for Med Sud I Eyrum Vid Spilum Endalaust
Free Music Review: The buzz moves from you ears straight to your heart...
Hit: 5 Stars
I was inspired to write this review as a result of a comment written about another amazon reviewer: "this guy hates everything." I am yet to write anything but a one star review, and I thought, will I merely be another snobbish curmudgeon eviscerating every piece of garbage that a world of commodified art tends to produce? This review is my unequivocal no! It is much easier to write a bad review, for while so much that is bad is bad in the same way, things that are truly beautiful seem to radiate their own, individual light (yes, I aped Tolstoy there!) It is difficult to write about something you love, our words can often fail to capture that which stirs in our hearts. For me, Med sud i eyrum vid spilum endalaust is something like a counterpoint to ( ). ( ) as an album (also a 5 star work of genius in my opinion) is an epic meditation on pain and loss. I feel a great deal when I listen to it, but hope or joy are certainly not feelings that readily come to mind. The feelings are dark, intense, at time transcendental, but even with the punctuated elegance of tracks 3 and 4, I feel like I am in a place that is more akin to purgatory than heaven. In that sense, after the pain, meditation and depuration of ( ), Med sud i eyrum vid spilum endalaust is in a sense reaching for the sky.
The music of Sigur Ros is constantly defined by a certain grappling with life and death. I think that the stark reality of death and the anxiety it creates is fundamental to their music. While ( ) seems to delve deeply into that vast crevasse of metaphysical doubt and ensuing anxiety that have become omnipresent in this post-modern era, Med sud i eyrum vid spilum endalaust is their redemption song. ( ) tells us that we are all going to die. Med sud i eyrum vid spilum endalaust says yes, we will die, but because life is transient we will love, cry and dance! It is life affirming in the deepest sense, raging against the dying of the light in the only way that will give us peace.
The album begins with Gobbledigoo, an effervescent, frolic into childlike abandon. You could almost hear the repeated vocal lines at the beginning, chorus and bridge as youthful taunts, but taunts lacking any malicious intent. They are simply crying to the shy kid staring at his feet in the corner, just let it all go, come and dance, it's time to play!
Dance is a word that comes to mind on the second track, seeing that Inn? m?r syngur vitleysingur has even forced a surly misanthrope such as myself to laugh, run and flail my limbs without abandon, whether I'm at home or frightening fellow commuters on the metro as the propulsive rhythm transfigures me into the dance commander! The bridge which swells with dynamic intensity and polyphonic grandeur is one of the most hope inspiring and blissful musical experiences that one will find anywhere. It is difficult to listen to this song and without be grateful for every moment we've been given in this life.
I would hate to refer to G?dan daginn as filler, it is calming, otherworldly and a wonderful transition between the two most expressively hopeful tracks on the album. Vid spilum endalaust gets us back onto the hope train with a similarly pounding piano/bass line which drives us forward but with that familiar and comforting (though somewhat more restrained) sense of joy and purpose.
The next seven tracks represent a slight transition. The first four are almost like the laughter, joy and celebration of life, love and friends, but festival ironically takes us out onto the verandah, cumulous clouds and a silver moon above, cigarette in hand, reflecting on the night and the mortality that comes creeping back to us when our serotonin levels start coming back down. But while there is a definite sense of melancholy that can be felt, it never reaches those depths of absolute loss that punctuate ( ). No, it is the ambivalence of death reminding us why it can be so painful, namely because we love so much. This feeling seems to permeate the rest of the album, hushed, delicate, intense love and the knowledge that one day it all ends. When we listen there is still joy still simmering in our hearts, but it's a joy tempered by time and tide. ?ra b?tur becomes the culmination of the ephemeral laugher of youth with the pained reminder of ultimate loss as it gradually builds into a tear wrenching crescendo that is simply sublime.
Here we are in this world, everything is fleeting, we love so deeply as the lines form on our faces and the unbearable lightness of being shines into every corner and crevice of our souls. And yet, somehow, the breeze rustling the leaves and the pallid light dripping from the sky grab our hearts and we no longer fear the terminus on this strange, beautiful journey. And as the last track reminds us, in the end, everything and everyone is all right. And yes my friends, it really is, even when it isn't...
Med Sud I Eyrum Vid Spilum Endalaust Poster
Inspired by the unfettered feeling of the acoustic performances filmed during Heima, Sigur R?sadopted 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. ?llgresi ) 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 R?s
commitment to challenging sonic limitations.
Med Sud I Eyrum Vid Spilum Endalaust is truly a groundbreaking album for Sigur R?s. 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 R?s 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 R?s find themselves singing a song solely in English for the
first time. The seventh track, ?ra B?tur , 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 R?s 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.
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