Whatever the choice made in the narrow range of options consists of the choice between persevere on already established a footprint and introduce changes more or less significant , the band in question will inevitably encounter disapproval or, at least , to a weakening of enthusiasm criticism and perhaps even his supporters.
The result of collaboration - fortunately not too invasive - with producer Flood , and recorded in various locations around the world, from Reykjavik to Cuba , "With a ringing in the ears we play endlessly " (this is the translation of his long and emblematic title ) is actually an album suspended between the past and the present of the band, but it is also a collection of artistic ideas quite different from each other , on which the future can be effectively followed today only build hypotheses. The new elements, however, seem more numerous than the legacies of " conservation ", as evidenced by the very structure of the album, you can broadly be divided into three parts, two of which have Jónsi Birgisson and his companions in robes sound more or less new, whereas one tends to perpetuate the same characteristics of charm and emotional involvement typical of the band's previous works.
The first part of the work is extremely unsettling, and immediately shows Sigur Rós under an almost entirely new perspective, blanketing their soft and ethereal melodies of an unusual radiance and a vein pop ever so strong.
The initial “Gobbledygook " shows a ritualistic drumming accents and insisted that emphasize again the link with the ancestral Icelandic band , in support of a psychedelic folk-pop , complete with twisted vocals and a melody from solar ' enthralling effect . In this and the next three songs , Sigur Rós and colourful open up a new world , where songs have defined shapes and even sang Jónsi purchasing a decision and a linearity up to now unknown , almost as if his mind was freed from a weight and could sing carefree, under the warm rays of the sun.
Overcome the understandable confusion of the early songs, the middle part of the album back to the register instead of the more traditional band, dilated with the times and with the usual sung ethereal, softly dripped on a wraparound carpet of strings, whose relentless and partly predictable anticipates growing in "Festival”, the eruption of drums and vocals and the only electric impetuous final this album. Followed the same path of continuity, but in a manner quite different , is placed parallel to the " Ara Batur ", a song calm and touching, with its subtle melancholy that runs on the piano staid and exciting Kjartan Sveinsson and then flows into a romantic elegy , raised anthem to the sky by the solemnity of the arches.
It is the prelude to the third segment of the job, the most intimate, in which Jónsi becomes the protagonist, demonstrating the simplicity of voice, acoustic guitar and piano - interspersed by thoughtful ambient orchestral interlude “Straumnes” - that the incredible communication skills undeniably recognized for Sigur Rós, can do without even the overwhelming electric rides to achieve an effect also “emotional."
Equally studied from the point of view of composition, “Med Sud Eyrum Við Spilum Endalaust " manages to balance the prevailing smoothness of the tracks with the instinct and the usual interpretative power , even in what may be considered as a classic album transition , it gives at least one song to love and remember for every third album. Ben is , then, this transition, if materialized into shining examples of the versatility of the caliber of " Við Spilum Endalaust ", " Ara Batur " and " fljotavik " , and more generally in yet demonstrating that the unique magic created so far by Sigur Rós lay not only in the guitar played with a bow and even admirable emotional surges.