MERGED ---> Sigur Ros- Hlemmur + Sigur Ros - Von
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The friendliest place on the web for anyone that follows U2.
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If you have answers, please help by responding to the unanswered posts.
Gickies Gageeze
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ive heard the song "von". its quite good, but as for the album its very very hard to come by. i suppose i could download the whole thing, but i would very much rather own it.
i hear theyre coming out with a mini-lp this year. apparently one of the songs even uses a drum machine, if you can believe it.
after hearing track number 8 on (), it makes me wonder how much they may expand their sound. which is ofcourse, awesome...
i hear theyre coming out with a mini-lp this year. apparently one of the songs even uses a drum machine, if you can believe it.
after hearing track number 8 on (), it makes me wonder how much they may expand their sound. which is ofcourse, awesome...
https://www.smekkleysa.net/shop/?artist_id=61
Here ya go. No, you can't buy it in most instances, except through their Icelandic record label...and that is their Icelandic record label's website that is selling it, along with other goodies.
Melon
Here ya go. No, you can't buy it in most instances, except through their Icelandic record label...and that is their Icelandic record label's website that is selling it, along with other goodies.
Melon
Gickies Gageeze
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too bad(its too bad its too bad, too late too far...-nickelbabyback) i dont order things off the internet, dear diary.thanks anyway melon. *high five
pub crawler
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Why not?Gickies Gageeze said:i dont order things off the internet...
Gickies Gageeze
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i guess not. 
diamond
ONE love, blood, life
ding dongs.
good music tho.
diamond
good music tho.
diamond
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Sigur Ros 
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thanks melon, this is indeed a great album......
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Sigur Ros- Hlemmur
Heres the review from Pitchfork.........
What stripped Sigur R?s of their hype? When ?gaetis Byrjundropped like a catatonic bliss bomb at the turn of the millennium, it was hailed as an astonishing breakthrough, an instant classic that struck a perfect chord between pastoral purity and neo-futurism. A serene, old-world simplicity echoed in its glacial disposition, inadvertently playing to our glamorized perceptions of the arctic dreamworld that gave birth to it, while the album's epic grandeur, overripe with fervid emotional outpouring, spoke to our excitement for a new era of infinite possibility, the refresh of beginning anew, and the triumph of having prevailed over the prophesied cataclysm of Y2K. Plus, it was great to fuck to.
But somehow, when the band's new album arrived last November-- and maybe this is just me, but-- anticipation for its arrival seemed lower than expected. I mean, people were interested, right, but there didn't seem to be the same kind of palpable enthusiasm as surrounded, say, Yoshimi Battles the Pink Robots. I've spent some time speculating as to why this might have been, and initially, I chalked it up to the extraordinary sameness of ?gaetis Byrjun. Though notable for possessing one of the more unique sounds of the past decade, ?gaetisdidn't offer much in the way of variety, which presumably led to fans fearing the band would be content to offer more of the same. (They were right, by the way.)
That was only half of it. I think that, deeper down, the wide-eyed optimism, innocence and cathartic joy offered by ?gaetis Byrjun-- as well as that of ( )-- just isn't with people like it once was. When that landmark record saw release in the first months of 2000, we were still reeling from the dot-com boom, the Dow Jones and Nasdaq habitually climbed several full percentage points each weekday, and technology was leaping at unprecedented rates; the nation's gravest concern lied with an oversexed president. Since then, a crumbling economy, terrorist attacks, and the looming potential for WWIII have decimated our peace of mind. It's only right that the once comforting and contented Sigur R?s sound now strikes as somewhat na?ve.
So there could hardly be a better time for the band to shift gears, which is what they've done, to some extent, with their Hlemmursoundtrack. There are only so many changes this band could make to their music without losing their signature sound (becoming a garage-rock band isn't one of them, though if they'd refashioned themselves as a Mot?rhead knockoff called "The Sigur R?s", I think the shock would wear off pretty fast), and to their credit, they've made most of them here. Where previous outings witnessed Sigur R?s mapping out sprawling, eight-plus-minute sonatas doused in spacious reverb and Jon Thor Birgisson's choirboy lilt, Hlemmur's tracks average roughly two minutes each, sans-vocals. Of course, the songs still ring with the same dampened production that graced Agaetis Byrjunand ( ), but the band's idyllic hopefulness has been replaced with a subtle malaise, and the overall effect is rarely as sweeping as on their official full-lengths.
This, of course, is likely due more to the nature of the film the band is scoring than any permanent adjustment to their modus operandi: Hlemmuris an independent film by director ?lafur Sveinsson, which documents the lives of the inhabitants of Reykjavik's central bus station, from which the picture takes its name. Throughout the feature, Sveinsson interviews the homeless and/or drug-addled nomads that frequent the hub while, "with unexpected candor, they tell of the monotony of their existence, their hopelessness, addiction and misery." At times this draws Sigur R?s toward a sound of grandiose bleakness, not unlike that of their orchestral brethren Godspeed You Black Emperor!, though never as defiantly bombastic; at others, the band offers standard-fare Icelandic IDM, owing its warm, melodic tones and analog drones to compatriots M?m and-- say it with me now-- Boards of Canada.
But mostly, this is Sigur R?s without the constraints of focus and melody that drew people to them in the first place. Hlemmurconsists largely of empty ambiance, intended more for setting a tone in its cinematic counterpart than for home listening. As a score, the music serves its purpose, suggesting a certain mood (if always a somewhat vague one) without drawing attention from the stories told by the station's denizens. However, once the initial interest of hearing Sigur R?s in a slightly different context wears off, the music has a similar effect in your apartment or bedroom, rarely offering a moment to wake you to its presence.
These moments do come, on occasion: "Hvalir ? ?trymingarhaettu" features a dense, muddied drone topped with reversed piano chords and the highly processed and pitchshifted vocalizing of Jon Thor Birgisson for peculiar, squeaking/squawking effects, and "?fram Island", after opening with a low-tech, preprogrammed samba beat, blossoms into beautiful piano and xylophone prelude. But "?vers?gn", while also notable for its departure from the album's usual sound, doesn't fare quite as well-- once again employing that low-tech samba beat, this time for evil, the band offers an elementary keyboard improvisation that clearly means to be spooky, but ends up the desert music from Super Mario 2instead.
Interestingly, Sigur R?s never seem fully able to immerse themselves in the pale resignation that would be more suited to this documentary; there's always a light gauze of positivism in their major-chord drones-- which might even work in their favor here, were this kind of utopian reverie not such a tired theme of their records. Fortunately, the record isn't given a chance to wear out its welcome too badly, as the band throws us yet another surprise curveball: Even at 19 tracks, Hlemmurcomes out at roughly half the duration of their usual 80-minute marathons. Still, the casual Sigur R?s fan won't likely find much to love here; though Hlemmuris certainly a beautiful record, beauty only stretches so far without the substance to back it.
-Ryan Schreiber, March 11th, 2003
Heres the review from Pitchfork.........
What stripped Sigur R?s of their hype? When ?gaetis Byrjundropped like a catatonic bliss bomb at the turn of the millennium, it was hailed as an astonishing breakthrough, an instant classic that struck a perfect chord between pastoral purity and neo-futurism. A serene, old-world simplicity echoed in its glacial disposition, inadvertently playing to our glamorized perceptions of the arctic dreamworld that gave birth to it, while the album's epic grandeur, overripe with fervid emotional outpouring, spoke to our excitement for a new era of infinite possibility, the refresh of beginning anew, and the triumph of having prevailed over the prophesied cataclysm of Y2K. Plus, it was great to fuck to.
But somehow, when the band's new album arrived last November-- and maybe this is just me, but-- anticipation for its arrival seemed lower than expected. I mean, people were interested, right, but there didn't seem to be the same kind of palpable enthusiasm as surrounded, say, Yoshimi Battles the Pink Robots. I've spent some time speculating as to why this might have been, and initially, I chalked it up to the extraordinary sameness of ?gaetis Byrjun. Though notable for possessing one of the more unique sounds of the past decade, ?gaetisdidn't offer much in the way of variety, which presumably led to fans fearing the band would be content to offer more of the same. (They were right, by the way.)
That was only half of it. I think that, deeper down, the wide-eyed optimism, innocence and cathartic joy offered by ?gaetis Byrjun-- as well as that of ( )-- just isn't with people like it once was. When that landmark record saw release in the first months of 2000, we were still reeling from the dot-com boom, the Dow Jones and Nasdaq habitually climbed several full percentage points each weekday, and technology was leaping at unprecedented rates; the nation's gravest concern lied with an oversexed president. Since then, a crumbling economy, terrorist attacks, and the looming potential for WWIII have decimated our peace of mind. It's only right that the once comforting and contented Sigur R?s sound now strikes as somewhat na?ve.
So there could hardly be a better time for the band to shift gears, which is what they've done, to some extent, with their Hlemmursoundtrack. There are only so many changes this band could make to their music without losing their signature sound (becoming a garage-rock band isn't one of them, though if they'd refashioned themselves as a Mot?rhead knockoff called "The Sigur R?s", I think the shock would wear off pretty fast), and to their credit, they've made most of them here. Where previous outings witnessed Sigur R?s mapping out sprawling, eight-plus-minute sonatas doused in spacious reverb and Jon Thor Birgisson's choirboy lilt, Hlemmur's tracks average roughly two minutes each, sans-vocals. Of course, the songs still ring with the same dampened production that graced Agaetis Byrjunand ( ), but the band's idyllic hopefulness has been replaced with a subtle malaise, and the overall effect is rarely as sweeping as on their official full-lengths.
This, of course, is likely due more to the nature of the film the band is scoring than any permanent adjustment to their modus operandi: Hlemmuris an independent film by director ?lafur Sveinsson, which documents the lives of the inhabitants of Reykjavik's central bus station, from which the picture takes its name. Throughout the feature, Sveinsson interviews the homeless and/or drug-addled nomads that frequent the hub while, "with unexpected candor, they tell of the monotony of their existence, their hopelessness, addiction and misery." At times this draws Sigur R?s toward a sound of grandiose bleakness, not unlike that of their orchestral brethren Godspeed You Black Emperor!, though never as defiantly bombastic; at others, the band offers standard-fare Icelandic IDM, owing its warm, melodic tones and analog drones to compatriots M?m and-- say it with me now-- Boards of Canada.
But mostly, this is Sigur R?s without the constraints of focus and melody that drew people to them in the first place. Hlemmurconsists largely of empty ambiance, intended more for setting a tone in its cinematic counterpart than for home listening. As a score, the music serves its purpose, suggesting a certain mood (if always a somewhat vague one) without drawing attention from the stories told by the station's denizens. However, once the initial interest of hearing Sigur R?s in a slightly different context wears off, the music has a similar effect in your apartment or bedroom, rarely offering a moment to wake you to its presence.
These moments do come, on occasion: "Hvalir ? ?trymingarhaettu" features a dense, muddied drone topped with reversed piano chords and the highly processed and pitchshifted vocalizing of Jon Thor Birgisson for peculiar, squeaking/squawking effects, and "?fram Island", after opening with a low-tech, preprogrammed samba beat, blossoms into beautiful piano and xylophone prelude. But "?vers?gn", while also notable for its departure from the album's usual sound, doesn't fare quite as well-- once again employing that low-tech samba beat, this time for evil, the band offers an elementary keyboard improvisation that clearly means to be spooky, but ends up the desert music from Super Mario 2instead.
Interestingly, Sigur R?s never seem fully able to immerse themselves in the pale resignation that would be more suited to this documentary; there's always a light gauze of positivism in their major-chord drones-- which might even work in their favor here, were this kind of utopian reverie not such a tired theme of their records. Fortunately, the record isn't given a chance to wear out its welcome too badly, as the band throws us yet another surprise curveball: Even at 19 tracks, Hlemmurcomes out at roughly half the duration of their usual 80-minute marathons. Still, the casual Sigur R?s fan won't likely find much to love here; though Hlemmuris certainly a beautiful record, beauty only stretches so far without the substance to back it.
-Ryan Schreiber, March 11th, 2003
Gickies Gageeze
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i still want it anyway.
HeadsOnSticks
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Gickies Gageeze said:
It is def. worth purchasing. But, it's one of those albums you play every once in a while.
Gickies Gageeze
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kind of like u2?
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HeadsOnSticks said:
You already have Hlemmur? Where did you purchase this?
HeadsOnSticks
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Gickies Gageeze said:
no no no... WAY more random than that.
Gickies Gageeze
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oh.
then i guess i better not buy it then.
then i guess i better not buy it then.
HeadsOnSticks
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Elvis Presley said:
You already have Hlemmur? Where did you purchase this?
My friend runs Ben Harper's website (www.benharper.net) and has access to pretty much anything he wants. He floats me a lot of stuff before its released. I can burn you a copy if you'd like...
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hi bear, instead of sigur and ros, the reviewer thinks they should maybe go with The Sigur Ros, thats dead sexy imo.....
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HeadsOnSticks said:
I would love it, i might have to become your best friend right now........
just dont tell Gickles Pickles
HeadsOnSticks
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Gickies Gageeze said:oh.
then i guess i better not buy it then.
Exactly...
Gickies Gageeze
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yes, while were UP AND ATOM, why dont we add a silly number at the end - like 69?
The Sigur and Ros 69!
Thats great stuff!
The Sigur and Ros 69!
Thats great stuff!
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Gickies Gageeze said:
up and at them radioactive man!!!!
i will tell the lads when I see them on the 26th.........
The Sigur and Ros .69 Sum 41..........
Gickies Gageeze
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so the sigur and ros. 69 are sharing a bill with sum 41? thats a match made in heaven...
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Gickies Gageeze said:so the sigur and ros. 69 are sharing a bill with sum 41? thats a match made in heaven...
i dont know if they share the bill with any but I can dream cant I ?
now I need to listen to this album, found it on soulseek but the d/l didnt take if you know what im getting at my "so called" friends.......
Gickies Gageeze
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ofcourse i do, ah hahhaha...
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HeadsOnSticks said:
must be nice to have friends like that, I love Ben Harper as much as a straight man can love another straight man.....
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