1. Hoppipolla 4:29
2. Inni Mer Syngur Vitleysingur 4:04
3. Saeglopur 7:31
4. Gobbledigook 3:05
5. I Gaer 6:22
6. Fljotavik 3:46
7. Hafsol 9:47
8. Heysatan 4:11
9. Ti Ki 8:51

Sigur Ros are:
Jón Þór Birgisson (guitar, vocals)
Georg Hólm (bass guitar)
Orri Páll Dýrason (drums)

Island became first victim of the economic crisis of 2008-2009, and possibly hardest victim as well ( in fact the country is bankrupted, not very usual event in modern world, isn't it?). One of the greatest country product - Sigur Ros at the very beginning of 2009 released promo compilation, which was given away free with UK "Independent". In fact ,it is regular compilation. All songs are taken from band's two albums and 2 EP's. The first song Hoppipolla ("Jumping into puddles") is band's most successful single, charting at #24 on the UK Singles Chart in May 2006 ,also presented on "Takk..." album (2005). Down tempo atmospheric and melodic sound, this song became band's most popular work ever."Hoppípolla" was used in the trailers for the BBC's natural history series Planet Earth in 2006, as well as the closing credits for the 2006 FA Cup final and ITV's coverage of the 2006 Oxford and Cambridge Boat Race, advertisements for the BBC's coverage of England games during the 2006 FIFA World Cup, on television advertisements for RTÉ's Gaelic games coverage in Ireland and on an advertisement for Oxfam. It was also used in the final scene of the movie Penelope, for the trailer of the film Children of Men and for the trailer of the film Slumdog Millionaire. Second song is taken from their newest album to date, Með suð í eyrum við spilum endalaust (2008). "Inní mér syngur vitleysingur" (Within Me a Lunatic Sings) was released as single ( and video).The song is more energetic, with some traditional rock elements and folk influence. Atmospheric dreamy sound of early works is changed there. "Sæglópur" (Icelandic for "lost at sea") is taken from "Takk..." album again. It was released as single (and video) in 2006 as well. Ethereal keyboards, some samples and falsetto voice are added by some heavier drumming , but still sounds as characteristic Sigur Ros song. This song was used for new Prince of Persia PC game trailer and BBC Top Gear some episodes. "Gobbledigook" and "Fljótavík" both are coming from 2008 album. " Gobbledigook " was released as single (and video) and contains more acoustic and Icelandic folk influenced sound. "Fljótavík" is acoustic piano beautiful northern ballade. From the songs left, "Heysátan" ("The Haystack") is taken from 2005 album, and all others - from two different EP's. "Heysátan" is atmospheric/strings filled slow classic-influenced song. "Í Gær" has a heavy guitar sound in it's sound in addition to almost Christmas fairy-tale melody." Hafsól " is a longest album composition , it contains almost mystic northern folk strings sound with orchestrated back-up and usual falsetto singing. Somewhere from the middle of the song guitar and drums transform sound to energetic rocker with heavy folk scent. The last compilation's song "Ti Ki" is the oldest one (2004).So it's nothing strange that this instrumental, full of electronic effects, sounds as northern land winter's fairy-tale soundtrack. Generally, the album is quite representative for Sigur Ros sound from 2004- 2008, even is too short for be real full compilation. Mixing songs from few different periods is good thing (in Sigur Ros case), whenever their music is often quite beautiful, bet very static. Rhythm and sound structure changing makes the album more attractive for listening. ---snobb, progarchives.com

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Disc 1:
1. Svefn-g-englar (10:12)
2. Glósóli (6:52)
3. Ný batterí (8:38)
4. Fljótavík (3:38)
5. Við spilum endalaust (3:58)
6. Hoppípolla (4:13)					play
7. Með blóðnasir (2:22)
8. Inní mér syngur vitleysingur (4:08)
9. E-Bow (9.09)

Disc 2:
1. Sæglópur (7:40)
2. Festival (7:35)
3. Hafsol (8:28)
4. All Alright (5:41)					play
5. Popplagið (15:23)
6. Lúppulagið (5:59)

Personnel:
    Jón Þór Birgisson – vocals, guitar, piano, pump organ, keyboards, bass
    Kjartan Sveinsson – keyboards, guitar, backup vocals, flute
    Georg Hólm – bass, toy piano
    Orri Páll Dýrason – drums, keyboards, xylophone

Releasing a Greatest Hits album doesn’t seem very Sigur Rós, so this live album will have to do. Since the Icelanders haven’t released a new album since 2008 (and the follow-up to Með suð í eyrum við spilum endalaust was scrapped before it was finished), Inni is also a welcome stopgap, if not the album fans wanted. Inni (‘Inside’) contains tracks from each of their albums, and comes with 75 minutes of concert footage (no frills; no audience even) from London’s Alexandra Palace in November 2008. The double-CD from the same two shows encompasses 105 minutes, enough for about five of their songs. Only kidding. There are 15 tracks in total, but Sigur Rós songs are the aural equivalent of the slow food club, each taste to be savoured and endured so that every classical, folk, ambient, rock and post-rock flavour can be absorbed. If rock’n’roll is the new food, Jónsi and company could win Masterchef every time.

But there’s something about live albums that falls short of the main event. Sigur Rós are an extraordinary live band; it’s those flavours, with backlighting and blended visuals, and Jónsi’s presence, the way he draws that violin bow across his guitar and gets lost in sound, and the way all four of them are bathed in the intensity of their performance. This is all lacking when you hear Inni in the cold light of day/dusk/night. The way the frontman stretches for those high fragile notes in Glósóli would be much better with the visual aid (it’s not on the film). And pictured or not, this version of Hoppípolla – after all its exposure on TV and film – isn’t expansive enough.

But this is still Sigur Rós, and free of the orchestral addendums of other live tours, and unshackled from the studio finesse, the band ignites on several occasions, when they grasp the epic strands of their DNA. Svefn-g-englar is already the slowest and dreamiest storming-of-the-barricades you’re ever likely to hear, but here it’s even bigger. Similarly, Ný batterí is gifted a brutal power here that you rarely hear on their albums. E-Bow – aka Untitled #6 from ( ) – is the sound of shearing glaciers and this version sears. Festival is equally hair-raising, but Popplagið – aka Untitled #8 from ( ) – is the killer blow, 15 minutes of the highest drama. And you can see every one of those four killers on the film. The one brand new track, the closing Lúppulagið, is six minutes of elegant piano ambience that comprises either an anti-climax or the calm after the storm. Watching this on film won’t make it better, however. But at least you have the choice. --- Martin Aston, bbc.co.uk

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01. Ég anda (6:15)
02. Ekki múkk (7:44)
03. Varúð (6:37)
04. Rembihnútur (5:05)
05. Dauðalogn (6:37)
06. Varðeldur (6:01)
07. Valtari (8:19)
08. Fjögur píanó (7:50)

Jón Þór Birgisson – vocals, guitar, piano, keyboards
Kjartan Sveinsson – keyboards, guitar, backup vocals, flute
Georg Hólm – bass
Orri Páll Dýrason – drums, keyboards
+
Margrét Arnadóttir 	Strings
Pálína Árnadóttir 	Strings
Hildur Årsaelsdöttir 	String Arrangements, Strings
Holmfirdur Banediktsdöttir 	Vocals
Hera Eiriksdöttir 	Vocals
Björg Garðarsdöttir 	Vocals
Sölveig M. Gunnersdöttir 	Vocals
Hildur F. Hávarðardöttir 	Vocals
Borgar Magnason 	Strings
Brynhildur Melot 	Vocals
Söley M. Odle 	Vocals
Edda Rün Ólatsdöttir 	String Arrangements, Strings
Barunn Óskmarinösdöttir 	Strings
Maria Huld Markan Sigfúsdóttir 	String Arrangements, Strings
Sólrún Sumerliduodöttir 	String Arrangements, Strings
Salka Þ. Svanhitardöttir 	Vocals
Una Svoinbjasnardöttir 	Strings 

After taking a long break from recording new material, Sigur Rós' sixth album, Valtari, is a welcome return for the Icelandic soundscape pioneers. Their previous album Med Sud I Eyrum Vid Spilum Endalaust had been their most intimate and cheerful record to date with songs that could actually be called "songs" and the band stripping their sound down to the point where you could almost pick out individual instruments in the mix. It appears that singer Jonsi took all the sunshine and most of the pop song structure away for use in his solo career, because Valtari is a return to the epically somber and sonically all-encompassing approach the band perfected on their first few albums. Filled with giant washes of sound bathed in reverb, echoing keyboards, smears of strings, and massed backing vocals, the album ebbs and flows from giant crescendos to heartbreakingly intimate moments with Jonsi's otherworldly voice riding the waves like a mythical dolphin. Each song creates its own insular world of atmosphere and emotion that can be so intense that when they end (usually after a solid six to eight minutes), the silence makes it feel like you've been yanked harshly out of a reverie. It's a shocking sensation but it speaks to how completely the band is able to transport the listener out of the day to day and into a magical realm. As is usually the case, it's a realm of graceful melancholy that comes across as a bit gloomy, until Jonsi begins to sing in his angelic croon, that is, and you are lifted. On the surface, Valtari may seem like a step back for the band, but instead of just retreading the past, the album is one of their best; a refined display of their musical power with breathtaking dynamics and enough emotion to flood an ocean. ---Tim Sendra, AllMusic Review

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