Limited double 180gm Direct Metal Mastering vinyl pressing of this 2002 album from the Icelandic band. Remastered direct from the original master and pressed on heavy weight vinyl audiophile discs. This release is strictly limited and housed in a plastic wallet. Fat Cat.

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You don't necessarily need written lyrics (or titles) for this intense experience. Just close your eyes, slip into this 72-minute slice of nirvana, and follow whatever feeling states draw to the surface as you listen. Like the icy-looking cover art, this music is the equivalent of a Winter night, and the thoughts and emotions that are conjured with it: cold, beautiful, dreamy, poignant, nocturnal, encircling, haunting and soothing. While the music is "cold," it isn't cold in an unemotional sense, as the album features nothing but overflowing emotion. The soundcapes are mellow, lush and elegant, while the instrumentation is generally used in ambient fashion, which allow certain atmospheres to be created more effectively. And added to this, the tracks are mostly extended, so the album is probably not recommended for listeners who want quick blasts of aggression, or who want short, catchy pop tunes.

As far as my personal interpretation of the album, or what it conjures through me? I see it as an album divided into two halves (which can also be equivalent to the two parentheses): The first four tracks comprising the "(" half seem like the equivalent of a lonely Winter night, featuring a long snow-capped landscape, and the stars shining at their brightest above. Winter and snow in general remind me of hope, longing, and the necessity (as opposed to luxury) of love, which are what I'm reminded of when listening to the first four tracks. The music in this half is generally the more lush, elegant, dreamy, nocturnal and mellow. Track 3 happens to be my favorite, as an elegant piano chord is repeated constantly, and used for atmospheric proportions, while the basslines ascend in a particular pattern, and lush orchestration tops it off to create an aura of bliss.

The ")" half features soundscapes that remind me of a misty dawn: a somewhat murky sunrise. While the first half seemed generally more nocturnal, there seems to be a diurnal (morning) presence on the second half: night is calm, day is active. Piano was the dominant instrument in the first half, while the second one hears the guitar dominating. This half tends to get more tense, aggressive and somewhat restless in atmosphere, and also features guitar feedback/distortion not heard in the first. Track 7 sees vocalist Jonsi using a pitch in his voice that was not heard at all in the first half.

This album is so dear to my heart for it's ethereal, calming, encircling, evocative and emotional nature. Atmospheric music for escapism, reading, relaxing, lovemaking and possible other pastimes. For best results, listen at nighttime, turn down all of the lights, and light up a few candles. Remember to relax, close your eyes, and let the music take you where it may. Enjoy.

By the way, here are the supposed songtitles that weren't listed in the sleeve:

1. Vaka
2. Fyrsta
3. Samskeyti
4. Njósnavélin
5. Alafoss
6. E-bow
7. Dauðalagið
8. Popplagið

74 of 78 found the following review helpful:

Untitled as the Music Speaks For ItselfNov 24, 2002
By mark "weeping_guitar"
Following their mind-blowing worldwide juggernaut of a record in Agaetis Byrjun, Iceland's Sigur Ros had really no place to go but down. Their second album gained them worldwide acclaim and this record justly was one of the most anticipated of the whole year. '( ),' their major label debut, against all odds, has possibly matched the brilliance of it's predecessor and has expanded the sound of the band into new, even more interesting territories.

'Agaetis Byrjun' was filled with bombastic string arrangements that soared and gave the songs real huge dimensions. This record is amazingly different, in a kind of way I personally thought Sigur Ros wouldn't venture. They've stripped down their sound, but at the same time drawn it into a tight sound that seems just as natural as their previous airy soundscapes. The new compactness relies on the intense percussion of their drummer and then the songs are built off that extremely strong foundation. All the familiar elements of the band are here, but used in new ways. Jonsi's otherworldly androgynous vocals return as does his "hopelandish" (his own self created language) lyrics, that aren't meant to have any literal meaning, but act as another instrument in the sound. When couple with his guitar playing with a bow, it can't be beat.

The record comes with no real title, just usually referred to by the apostrophe shaped cut outs on the albums slip cover. The songs, averaging about 9 minutes, are also untitled. Critics will like to rag on these as pretensions, but it couldn't be more untrue. Sigur Ros like to create, as they themselves call it, a fully interactive music. The listener is able to free their mind of any kind of pre-conceived concept and create their own meanings and lyrics. In fact, the album booklet consists only of blank pages, meant to be used by the individual to write in their own lyrical, or even visual, interpretations.

A one word title if any would have been most appropriate because the tracks flow so well into each other it's not worth even trying to find where one ends and another begins. The album's contraction is one of the best parts as first half is much warmer and much of it is piano based (tracks 1 &3) and tender feeling (track 4) ; after a short silence separating the halves, the second proves to be menacing with aggressive drum beats (track 6)and even some straightforward guitar work that all climax at the end (track 8). The album at it's most brilliant (tracks 1,4, 6, & 8) is nearly unmatched today and at it's worst (track 5) it's inspirational.

38 of 40 found the following review helpful:

SIGUR ROS IS NOT PRETENTIOUS, THEY'RE JUST GOOD!!!Jan 02, 2003
By Joseph H. Dorne "beaufordtech"
Having listened to this album countless times now, both awake and asleep, I have come to the conclusion that it simply cannot be compared to its predecessor, Agaetis Byrjun. The songs on this album take a less orchestrated, more minimalistic approach, using less of the traditional string section for backup. If you have never listened to this band before, be forewarned that they do not resemble anything even close to conventional music. The songs often go on for upwards of 13 minutes, with a not-so-cut-and-dry song structure. The songs reach from somewhere deep to present a sound that is beautifully textured and ethereal. The first half is like listening to a sunrise, while the second half is like being trapped in an ice storm with no electricity. The relatively simple instrumentation of 4 band members creates a sound that is irresistable and makes its listener happy to be alive. Sure, critics complain about the supposed "pretentiousness" of the band, but I don't consider it pretense at all. OK, so they left the CD booklet blank, left the album without a title, assigned no song titles, and sang in jibberish instead of Icelandic. So what? They are trying to convey the point that the music is all that really matters, and they encourage listeners to pick up a pen and fill in the blank pages with their interpretations of the lyrics. It's entirely listener-involved. Iceland has no problem understanding this; why do we? If you haven't listened to this fantastic band yet, and are looking for music that will truly live up to the word "music", I urge you to pick this or "Agaetis Byrjun" up. Sure, bands like Godspeed You Black Emperor and Silver Mount Zion have made ethereal, atmospheric music before Sigur Ros came around, but who cares? No one pulls it off quite like Sigur Ros, and no one will ever hear of those other bands anyway. Oh, and just for reference, Sigur Ros is pronounced "seer rose."

23 of 23 found the following review helpful:

Genius Not PretentiousOct 29, 2002
By S A S ELNASHAI
Sigur Ros are a blend of sounds the like of which you will not find elsewhere. With a dedicated fan-base as diverse as Radiohead (who cited them as an influence on Kid A) and Cameron Crowe (who included three songs in his movie Vanilla Sky), this could be the album that finally earns them the widespread recognition that they deserve. Their second album Agaetis Byrjun was a monumental epic that created a new sound. This third album consists of studio versions of songs that have been honed over the last two years during live performances. Their previous albums have been in Icelandic; this latest one is in Hopelandic, a made-up quasi-gibberish that allows lead singer Jon thor Birgisson (Jonsi) to project his voice (half-way between choir-boy and Thom Yorke) almost as an instrument. Incidentally, the lack of lyrics allows each listener to conclude what each song means to him personally, and your interpretations can be posted on the web alongside other fans'. The tracks are also untitled, though many of them carry unofficial monikers. With any other band this would be an act of extreme pretence, but as a Sigur Ros fan it is hard to conclude that it could have been done any other way. Even the album itself is untitled, simply named ( ), which can be interpreted as symbolising the two distinct halves that complete the whole, or it could be on a similar theme to the interpretive lyrics, in that you should fill in your own album title. Track 1, sometimes referred to as Vaka, is the one they most commonly kick off their concerts with, and it is an appropriately slow track that utilised a calm piano riff. Track 2, Fyrsta, is again a beautifully-constructed track that is more mournful, almost lethargic. Track 3, Samskeyti, for lack of other words can be described as unbelievably pretty, and uplifting as it combines once again a simple piano riff with strings, in what is an instrumental piece. Track 4, Njósnavélin, is perhaps the most famous song off the new album: it was used in the climactic scene of Vanilla Sky, and was performed on Kilbourn. The first studio version combines all the best aspects of the various forms it has appeared on stage, and adds an accompaniment that at once achieves perfection. Track 4 is followed by a silenec that allows the mood of the album to totally shift. When it restarts with álafoss, it is much more downbeat in tone, but no less masterfully-constructed for it. The songs effortlessly segue into one another as E-Bow and The Death Song go by, as it gears towards the climactic Track 8: Popplagið. Unlike anything else they have ever composed, 'The Pop Song' rocks out with an intensity unlike anything else I have heard. The various elements just come together in perfect unison to achieve a perfect blend of emotion and intensity that leave you reeling as the CD comes to a close. Appropriately, Sigur Ros are in the habit of ending their sets with this track. The final lyrics of Agaetis Byrjun made reference to how this was a Good Beginning (the literal translation of the album title), but that they will do better this time. On this evidence, they keep getting better...

21 of 21 found the following review helpful:

Two Sausages Kissing=incredible albumNov 20, 2003
By MaratsBathing "Sail"
REASONS WHY I SHOULD BE MAKING FUN OF THIS ALBUM:
1. The songs have no titles, and the name of the record is "( )"
2. The singer sings in a made-up language that basically consists of him saying "you sat along the fire" and "you're so" in funny ways.
3. There are no liner notes, but rather 12 blank pages that the band insists you write your own interpretation of the nonsensical lyrics on (which translates to "we're lazy, and this makes us look cool and arty").

REASON WHY I CAN'T MAKE FUN OF THIS ALBUM:
1. The minor silliness of the band's ways are FAR outweighed by the pure beauty, emotion, and, at times, power of this album.

This album is absolutely incredible. Take one of the most beautiful things you can think of, and multiply that by 10, and you'll pretty much get the idea of how amazing this album is. None of the songs are shorter than 6 minutes, with most songs on the first half being in 6-8 minute range and the ones on the last half in the 10-12 minute range. They hover for gorgeously extended lengths of time and take time to unfold and completely envelope the listener. ( ) is definitely a headphones album, as well as the quintessential "winter" album, the honor previously held by the Cure with "17 seconds" until I found this one. The first half of this album (or "(" as I like to call it), is light and optimistic, with more emphasis on keyboard than guitar, while the 2nd half (or ")") is bleaker and more melancholic, with more emphasis on guitar (which is played with a cello bow). The standout tracks are definitely #1 (the video will change your life), #3, #4, and undoubtedly #8, the album's chilling climax, with the most amazing drumming I've ever heard (OK, so that's a bit of an exaggeration, but it's still awesome).

THIS ALBUM IS MOST HIGHLY RECOMMEDED FOR:
-Fans of Radiohead, Bjork, Mum, My Bloody Valentine, Godspeed you black emporer, Mogwai, or (don't laugh) Enya
-People who prefer long, beautiful, drawn-out mood pieces to catcy, poppy, 3-minute singles
-People who have the time to sit and listen to an 80 minute album in one sitting

NOT RECOMMENDED FOR:
-People with short attention spans
-People who are expecting something aggressive or hard-rocking
-People who overuse the word "pretentious"

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