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7" is missing. Vinyl is close to NM. With insert.

Vinyl is close to NM.

A score of high Nordic drama drawing on unreleased Sigur Rós material and multi-tracks from the band’s catalogue. Premiered at Norđur Og Niđur Festival, to soundtrack performances from the Iceland-ic Dance Company. Arranged by Valdimar Johansson, choreographed by Erna Ómarsdóttir. Originally released on Record Store Day, Variations on Darkness returns with new artwork, reversed in colour and printed in special ink. Variations on Darkness will be re-released on August 9.

cardboard slipcase with insert

Lasting two seconds short of 72 minutes, Ágætis byrjun was a seismic shift from their previous record, Von: more melody, drama and tone, more accessible and anthemic. Twenty-one years after its release, it hasn’t remotely dated, lacking any relationship to grunge, industrial, ambient, pop or any other genre — not even Godspeed You! Black Emperor and Mogwai, points of comparison that cropped up in reviews. Perhaps the album’s unique DNA is simply Iceland’s environment, the community, the people. This, after all, was not a band, just music. Or just, perhaps, a force of nature. And like the aftermath of a hurricane, the landscape out there is very rarely the same again.

OVERVIEW: In 1999 the band released Ágætis Byrjun (‘A Good Start’), Q magazine deemed Ágætis Byrjun ‘the last great record of the 20th century’. By the end of the year, it had won the inaugural US Shortlist Prize for Artistic Achievement in Music. This year celebrates the 20th Anniversary of Ágætis Byrjun, the band expand their breakthrough album with demo and archive versions of songs from the album, plus never-before-heard newly unearthed material from the time, rare b-sides and the full 95 minute concert played in Reykjavík on the day the record was released.
PRODUCT SPEC: 4xCD discs containing original album, live album and rarities with a soft back book CD1 | Original Album - as released June 12th 1999 CD2 | Live at Íslenska Óperan
Live at Íslenska Óperan, 1999 - includes previously unreleased tracks
CD3 | Live at Íslenska Óperan & Rarities
Live at Íslenska Óperan plus 3 previously unheard and unreleased tracks
CD4 | Rarities

Music from throughout Sigur Rós’s career, twisted, bent, broken, and finally added to in the band’s Rey-kjavík studio, to create a new perspective for a dance piece of the same title initiated and created by Taiwanese choreographer CHENG Tsung-Lung. Musical director Kjartan Holm. Originally released on Record Store Day, 22° Lunar Halo returns with new artwork, reversed in colour and printed in special ink. 22° Lunar Halo will be re-released on August 9.

( ) - Sigur Rós’s celebrated third album, and for many people - especially in US where it remains their biggest selling work - the most quintessentially “Sigur Rós” record of their career to date. It is the only album where Jónsi sings entirely in the wordless lyrics of Hopelandic. A desire to elide meaning and allow the listener to bring their own interpretation to the music, extends to the eight songs, all of which are nameless. The music is broadly divided into two halves, divided by a critical 36 seconds of silence. The first half of the album being lighter and more optimistic, and the second half bleaker and more melancholic, culminating in the thundering climax of Untitled #8, the closing song of every Sigur Rós show since the song was written in 2000.

( ) was recorded at the band’s own studio Sundlaugin, in Mosfellsbær outside Reykjavik, in 2002, co-produced by the band with Ken Thomas, who also helmed their break through second album, Agætis Byrjun. Completely out of print, the vinyl album now comes in its full Grammy-nominated artwork, including die-cut sleeve and spot UV varnish inner bags.

Bahía Blanca is a mid-size city in the southern extreme of the Buenos Aires province that has a pretty active cultural life but rarely gets noticed by the rest of the country; as a result of this, we almost never hear about bands coming from there achieving international recognition. Siete Rayos might end up changing that. All the four members did some time playing in the hostile Argentina’s capital underground scene as members of different bands until they decided to relocate back to their hometown and form a band there, where they belonged. It was then that they were noticed by Calar Music, a San Francisco-based boutique record label that releases vinyl exclusively, and their music reached the international arena skipping the mandatory step of succeeding first in Buenos Aires. Even though Siete Rayos didn’t formally exist until 2011, their musicians claim to have been brought up in the pre-Internet era, when the traffic of cultural influences happened in a slower, more organic way, with the hand-to-hand passing of the few bootlegged tapes that would reach their town as the main way to find out about new music. That, they say, influenced them more than any particular band or scene. However, their gloomy, almost claustrophobic sound commands references proto-punk giants like Velvet Underground and The Stooges and some of the ’80s avant-garde.