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Inní is the definitive Sigur Rós live experience, comprised of a double live album and a seventy-five minute concert film, capturing the enigmatic band’s last show before their well-documented “indefinite hiatus” at the end of 2008.Recorded and shot over two nights at London’s Alexandra Palace, at the close of their Með suð íeyrum við spilum endalaust world tour.
The live album Inní – a first for the band – is comprised of the full set from Alexandra Palace, played in order with just one omission, and clocks in at one-and-three-quarter hours. Recorded by Sigur Rós’ in-house studio engineer Birgir Jón Birgisson, Inní’s live audio recording is far and away the best way of replicating the full-force effect of standing in front of one of the world’s most extraordinary bands for an evening.
Inní, Sigur Rós’ second live film following 2007’s hugely-celebrated and Gold Certified tour documentary DVD Heima, was directed by Vincent Morisset (Arcade Fire’s Miroir Noir) and captures the band as a core four-piece for the first time since they were joined by string section amiina at the start of this century.
The film debuted at this year’s Venice Film Festival on September 3, 2011. Inní focuses purely on the band’s performance, and stands as a stark counterpoint to Heima’s kaleidoscopic richness. Where Heima was lush and colourfully expansive, Inní is spare and near-monochromatic in its tunnel vision. Filmed in a manner that invites both intimacy and claustrophobia, Inní cocoons the viewer in a one-onone relationship with the band, eschewing the audience for closeness, depicting how it feels for both band and fan to experience Sigur Rós live.
When taken in together, Inní’s live album and film give us an incredible account of one of the most celebrated and influential rock bands of recent years, showing where they’ve come from, where they’ve been, and like all things Sigur Rós, where it is they will be going next.
“Shot in black-and-white and running a haunting, emotion-drenched 75 minutes, [inni is] as pure an experience of the cinema as i've had." - Justin Chang, Variety
“The capacity crowd sat in rapture during the quiet moments. At times the music was both delicate and resonant. Much of the show was searingly intense, with Mr. Dyrason flailing at his cymbals and Mr. Birgisson sawing a bow across the strings of his electric guitar. Some songs were studies in the art of crescendo; others were simply explosive.” - The New York Times