“Thank You”. That is the translation for the new album Takk (Geffin) from Sigur Rós. The Icelandic quintet released Takk over a week ago on September 19. The record is a follow up to ( ) which was released in October of 2002. I will apologize up front; my writing will not be able to do the album any justice. Asking for a written description of Takk is equivalent to asking one to describe the color red. Sigur Rós has a beautiful, unique sound that has taken the ear canal places that it has never before ventured. Takk is no different. I will say this; one time I went swimming in a natural lagoon on the island of Jamaica. The sky was cloudless, the breeze was penetrating, and the setting seemed as if it was a gift to me from God himself. Listening to the newest release from Sigur Rós was equal to, if not better than my experience in the cool, blue fresh-water in the Carribean.

From start to finish Takk is absolutely captivating. The waves of intensity are melodic and flow even between songs. The Icelandic vocals make one forget that he is not listening to an instrumental track as in von. Where as ( ) seemed to depict a darker image as in the “heavy half” of the album, Takk is a happier compilation: a feel good album, if you will; each of the songs tells a story in their native tongue of Icelandic. Sigur Rós did not write any songs in Hopelandic for this album. Hopelandic is an "invented language" the band used in von, olsen olsen and ( ). According to the Sigur Rós website the gibberish was used to fit the music as an instrument. The latest release seems to be the lighest and most orchestral. The use of horns in Hufupukar and the melodic drive by the bells in Hoppipolla Afturabak takes the album to heights to which Sigur Rós has rarely peaked. The album escalates to Sorglega in which the climax is almost reminiscent of ( ). The compliment of piano and violin resonate very similarly to the patterned escalation in the third untitled track of ( ). Both tracks have an unprecedented way of making time stop for a beautiful crescendo.

The album ends with a four minute afterward entitled Heysatan. The last track has no swell and no climax, but it proves that Sigur Rós is more than strategically placed crescendos. After hearing the last track on Takk, I am convinced that the band’s forte is not playing in forte. The track reached a separate dynamic that fans of ( ) or even von are not used to. Many a message board was collectively disappointed with the last track. I hold that it is the benediction for the album after the message has been given. The album is a must for Sigur Rós fans; I will go so far as to say it is a must for music fans.