No matter what side of the album is playing, there is always a feeling of solemnity about the music. The first half dominates the second half maybe because the band’s name means “victory rose” and a song of hope might suit them better. Sigur Rós composed the album with the idea that the first four tracks would represent hope and the last four would represent depression. Like mourning over a lost loved one or finally meeting a new love. Like plodding down a deserted street or rushing through the middle of the city. Still, the album always conjures brilliant imagery, like a cold, snowy day in winter or a warm fireplace. In other words, titles do these songs no justice. With the idea in mind that the listener should derive their own titles, their own images, and their own meanings from each song and the album as a whole, ( ) presents an expansive, open atmosphere where what the song emotes depends on the listener’s mood. Overdone? Maybe, but to date no one has done this idea better. “Untitled 3” is just a song on this large, 71 minute album, and speaking of pretentiousness, ( ) has no titles and is sung in a language no one understands. I could tell you what I think it means when the melody shoots up an octave, but I will spare you the boring pretentiousness. I didn’t cry, right? No, instead I curled into a little ball and waited out the storm.Īfter this experience, I have come to adore “Untitled 3”, and consider it one of the best songs ever created, among the likes of the “The Canyon Behind Her” and Jeff Buckley’s “Hallelujah.” I could sit here and dissect the song in a lengthy five paragraph essay, telling about how the melody somehow never gets swallowed by the ever-growing chordal undercurrent, or the soaring French horn suspensions and releases hidden throughout the song, or how the most beautiful part of the song comes after the climax, where the song finally lets go and there is silence. I would like to say that I was strong, and shrugged off the fighting, the yelling, and the atmosphere of a friend lost. As the voices rose, the music rose in the same, unwavering crescendo, as if some force intended for these two unrelated events to happen simultaneously. I had this album playing, and the song was “Untitled 3.” At the time, my father was drunk, fighting with his just as drunk friend.
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The second came on New Year’s Eve, at my father’s house. Once was with dredg’s El Cielo, particularly the end of “The Canyon Behind Her.” I had listened to that album countless times, and I still do not know whether the planets aligned or the air was just the right temperature, but the music affected me in such a profound way that night. I can recall two times where music nearly brought me to tears. However, that’s not to say I’m emotionless or that I do not understand what I am listening to those who know me find me emotional to a fault. I have never been brought to tears by music, a movie, or a book. Review Summary: The tracks have no names.