i name you sleep you name me destroyer of morning feeling like death? well, that's okay there's an open window never very far away. not a dream, unreal as it seems counting hours, counting days counting the years since last time you felt alive; you do all the time.
i name you sleep you name me destroyer of morning i know what this is; i know what we are. we are lost. we are stars feeling so high, waiting to die. spent all my nights watching shadows loom like a fugitive rummaging in my room avoiding the light, barely alive.
hearing you leave feeling i've unfound? are something that tears me down no solace of sleep the secret i keep i will take control of my plan end my time before the sun can. bring back the morn' destroyer is born.
不知為何，最近總是重複撥著Weezer新專輯裡的Heart Songs，歌詞寫的是一些樂團和樂手對主唱Rivers Cuomo的影響，從他5歲聽著Gordon Lightfoot的The Wreck of the Edmund Fitzgerald到Nirvana 的Nevermind發行，如今他已經是譜寫800首以上歌曲的創作人。
新專輯延續以往的顏色主題，取名Red Album，單曲Pork And Beans早在惡搞MV出來時就聲名大噪，而The Greatest Man That Ever Lived這首相當有意思，在五分鐘的歌曲中表現饒舌、合唱、假音、對白、到吉他Power Chord的狂飆，呈現一種非線性化的轉折，甚至是旋律完美流暢的變化都讓人驚歎，這也是Red Album歌曲中慣用的編曲方式之一。
走廊上有個穿著舌環頂著尖髮的傢伙，聽說他是黑死金屬樂團的主唱，這個看似叛逆的年輕人，我不知道是否他真的知道自己在唱什麼，但其實還滿酷的，叛逆阿，怒吼阿，那些東西似乎離我的意識越來越遠了。我的同班同學正在和他的樂團表演Smells Like Teen Spirit，但那時候我還是他媽的聽不出來他在表演什麼鬼，甚至聽不出來那是同一首歌，但他們真的很賣力不是嗎。
高中畢業的那個夏天，我希望能像Manic Street Preachers的Richey James寫出用憤怒拼湊而成的歌詞，如此的厭世，如此的淋漓盡致，然後什麼也不帶走的離開人世，我在房間的牆上寫下I know I believe in nothing but it is my nothing，「我知道我什麼也不相信，但這是我一無是處的地方」來當做標語，對我來說，宗教、媒體、政治，只是一堆狗屁，他們可以操控人們，但卻無法更改人們的自由意識，這就是我們還存有的價值。
Sex Pistols的年代已經離我很遠，聽著The Replacements那好像又親近了我一些，Bastards Of Young是我最喜愛的Replacements歌曲，每當那前奏和呼喊開始，登嗯登嗯登登嗯，幹，心裡都會想世界上怎麼會有那麼好聽的歌，詞又寫到心坎，只能說主唱Paul Westerberg真是屌翻了，The Clash的London Calling對我來說也跟這首歌有同等的地位。The Replacements的八零年代，我最喜歡的一個年代，他們無庸置疑的帶領著美國地下另類搖滾運動的興起。
God, what a mess, on the ladder of success Where you take one step and miss the whole first rung Dreams unfulfilled, graduate unskilled It beats pickin' cotton and waitin' to be forgotten
We are the sons of no one, bastards of young We are the sons of no one, bastards of young The daughters and the sons
Clean your baby womb, trash that baby boom Elvis in the ground, there ain't no beer tonight Income tax deduction, what a hell of a function It beats pickin' cotton and waitin' to be forgotten
We are the sons of no one, bastards of young We are the sons of no one, bastards of young The daughters and the sons
Unwillingness to claim us, ya got no word (war? no one?) to name us
The ones who love us best are the ones we'll lay to rest And visit their graves on holidays at best The ones who love us least are the ones we'll die to please If it's any consolation, I don't begin to understand them
We are the sons of no one, bastards of young We are the sons of no one, bastards of young The daughters and the sons
新專輯名稱Með Suð Í Eyrum Við Spilum Endalaust (With a Buzz in Our Ears We Play Endlessly)，總會令人想起隨音樂起舞的人們，它們因感受到音頻與節奏的不同而開始擺動肢體，跳著自我的舞步，而專輯的第一首單曲Gobbledigook，所展現的就是他們之前所不曾擁有的律動，鼓棒不斷的敲擊著大鼓的鼓面，音樂錄影帶中的裸身男女不斷奔跑起舞，每個人臉上歡愉的面容，像是一種對現代化的反抗，轉而崇向自然的一切美好，雖然Gobbledigook的風格有所轉變，但這並不影響Sigur Rós在音樂上一貫的表徵。
從Takk…開始Sigur Rós轉而投入EMI大廠，進而讓更多人聽到他們的音樂，這也使得他們在音樂上的表現慢慢走向塵世，在風格上去除更多飄邈無垠的誨澀，取而代之是更平易近人的舒適感，甚至有讓人想跟著一起歌唱的律動旋律，但對我來說，Með Suð Í Eyrum Við Spilum Endalaust還是難以超越早期的三張作品，不過卻也已是今年不可多得的佳作。
