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Jun 14, 2003
50 Meanings
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"untitled 4 IS Njósnavelin (the nothing song)" i think that's just the name sigur ros gave it when it was put on the vanilla sky soundtrack. they are all the nothing song. they are all untitled. all the words in all of the songs have no meaning, and i totally agree that the vocals are just used as more insturment. the whole theme of this album is to let the music be whatever you want it to be for you. thus, everything is untitled, the words mean nothing, and the lyrics mean nothing. the album leaf inside the album as actually drawing paper so that you can write or draw out whatever the songs mean to you on each page. i love this album. especialy this song. it is by far one of my most favorite albums. as for what the song means to me, for some reason, this song is pure inspiration. when i listen to the begining of this song, i feel like i can accept everything, the good and bad things in life, and the tone is very morbid and it kinda depresses me a bit that i have to accept things the way they are and i can never change everything. but as soon as that break down comes, it's so inspirational and i get tingles down my back every time it starts. i feel like i can just say fuck it, things are the way they are, and i am the way i am, and if people have a problem with it, to fucking bad. i feel so damn relaxed and at piece after the song is over. i love it. this whole album is great.

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As I'm commenting on here I'm actually listen to the song on my MP3. Along with many of the commenters on here I feel that the song not actually having a proper name allows the listeners to actually come with their own meanings:

Is wierd because I think that I'm the only one on here who associates this song with death or losing someone you love (perhaps because of a break up) - I can think that every Sigur Ros song that I've ever heard can be linked to love - I agree with Lizzybelle about what can be heard when you listen to the song:

"You sat along the fire...you're saw the light, you're saw... You sat along the fire....you're so in love, you're so... You've suffered long, You're so alone, you're so... You sigh 'so long', You sigh 'so long' You shone (you shone...you sigh)

You sat along the fire You saw the light...you saw You sat along the fire You're so in love...you're so... You suffered long... You're so alone, you're so... You sigh 'so long' You sigh 'so long' You shone.

Can be interpreted as; The first part is sung in the past tense as if the person is reflecting on what happened. A woman is in love with someone was oblivious to the fact that things weren't working out 'you sat along the fire - you saw the light' - The man (an assumption) 'saw the light' calling him out of the relationship. 'You suffered so long' - the woman now knows that the 'man' has suffered so long by being in a relationship he knows wouldn't work but was only in this relationship in order not to break the woman's heart. 'You sigh so long' - the man put up with the woman for so long.

  • You shine no more...you're not here... You hear no more, you're not here.. You sigh no more...and you're not here"
  • She's now talking in the present tense, the man has now left this relationship; 'you shine no more you're not here', and the woman feels alone and unable to come to terms that she may have known that the relationship wasn't meant to work.

Well this is just my interpretation but this song's simply breath-taking.

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Njósnavélin in Essil (original title: "ete tas Essilev" = "Light's traveller")

Essil on Essil on erifet al Essil on Essil on eriftel al Essil on

(Pronunciation: ee-sile on [long "i," as in "hi" and long "o" as in "throw"], er-o-fet all)

Literal Translation: I travelled through light I travelled through light; I am not afraid (repeat)

Explanation: In Essilian mythology, light was the source of everything. People were born of light and remained immortal as long as they upheld nature and light. The preferred communication of scholars and monks was thought and telepathy, which they understood as the pathway of light that bound the minds of all. But for the sake of posterity, they recorded their thoughts in Essil, the language named for light itself.

Their belief was that water preserved light, and from this preservation of light they came into being. This song, "ete tas Essilev," is an account of their sort of birth... instead of reproduction and natural child-birth, the people of this culture claimed to come into existence from the water and light. The verb "essil" is a concept of both birth and thought. The speaker is talking about swimming in the water before birth, a collection of light and souls (or, arguably, a single soul shared by all). The form "E(e)ssil on" is a first person perfect form of the verb. Our understanding of the perfect form has changed over time. Instead of a single action in the past, the perfect tense here is understood to mean a continuous action... this soul was floating and travelling from the beginning of time, and is still a part of their "essil."

The alternate line's "erifet al" is a first person negative present of the verb "rifet," which means not simply to fear, but to be incredibly fearful, to be terrified. Why would one consider birth fearful in the first place? Surely with such a languid tone and the lazy repetition of phrases and lines, this is not a song of fear, nor is it a song of the abscence of fear... it speaks of a peaceful ignorance. The present here, too, is not to be taken in its true form. Rather, it means the person was not afraid at birth, nor are they now. The explanation of this is the Essilian culture considered coming into existence and existence as the same thing, a continuing and never-ending process. So where does fear come in? The Essilians are doing two things: first, they are praising light, Essil, for its comfort and power, but secondly, the speaker is asserting his belief in Essil... therefore he is speaking of his trust that he will continue existence and not be revoked his life (a thought expressed in the noun/infinitive "ocente").

Taking all this in mind, a poetic translation becomes more possible. But, for the sake of the original scheme, it is necessary that its simple repetition and ideology be preserved. Thus the poetic translation:

In this lake of souls In this lake of souls, I lose all fear

InfAdele, where have you got this information from!? What kind of study have you done? Could you maybe provide me with a reading list? I am a music masters student analysing obscure lyrics and their relation to authentic expression, so anything academic you could provide me with would be very appreciated.

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Absolutely amazing. Especially the last 2 minutes. Best track on ( )? Probably.

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beautiful. simply beautiful. it all is...

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i, for one, am glad that sigur ros limited the vocals on this cd. the music is breath-taking enough as it is. i love the way that the band actually incorporates the vocals into the songs so that they sound like other instruments....it definitely adds to the feeling the cd gives off. i feel that sigur ros bettered themselves on () by limiting vocals and not overdoing the album lyrically, but letting the music speak for itself.

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I think this is probably the finest song on (_) - although untitled 4 (called 'The Nothing Song' I believe) is also wonderful.

Musically it is outstanding and the vocals, whilst not being in any specific language, add a great deal to the song. They act as another instrument in my opinion.

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untitled 4 IS Njósnavelin (the nothing song), just to reassure you. i give this messege because i hadnt even thought about it until i read yours, oneson. so i listened to both and found they were, indeed, the same song.

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the video for this song is amazing. i don's think anorher has been made like that since street spirt from radiohead....watch the video, you will love it

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Best video i've seen ever..Should have been given more credit..and of course the music is breathtaking

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