If my long-term memory serves me right, this first appeared on vinyl a year or more ago, and I, having an even more dodgy record player then than I do now, was unable to appreciate the full density of the melodies in their basic forms, so to speak. This CD appeared slightly more than several months ago and has been reposing patiently on my stack of review material. A few subtle kicks in the arse by one of the composers induced me to place the silver slice in my machine and lo, what a creamy item it is. It clocks in at just over 40 minutes, contains five tracks and has, together with the new Rehberg/Bauer CD on Touch and the even newer Bass Communion CD, been one of the main occupants of my sound-space for about a week now. One of the things inherent to the world of creativity is the skill some have to innovate, while the only aptitude most others possess is an ability to emulate. This appears to be an unavoidable characteristic that has probably been a part of human expression since Org thumped two different sized rocks with a tusk -- an example that was no doubt immediately copied by his close cousin/brother/son (or all three simultaneously) Tharg. I'm sure the world's first percussion ensemble all sought out the same substances to beat and beat with. And Org's first paradiddle was no doubt repeated for at least several thousand decades, until a cross-eyed, slightly a-rhythmic individual lost the count and, whilst perhaps being shunned by the rest of the ensemble, was later hailed (after being thoroughly stoned to death) as the inventor of counterpoint and syncopation. While I can appreciate the endeavour to try to better what is often a good thing (by accident, or by design) , I am somewhat disturbed by the enormous amount of the world's resources that get wasted (and I'm no confessed ecologist, I assure you) on very poor imitations of the genuine article. Once, not so long ago, there was a (good) Finnish group called Panasonic, who startled the inhabitants of the sound garden to such a degree with their minimal rhythmic constructions, that they caused an audible rift between those who were able to expand their concept of music, and incorporate these efforts into their definition, and those who could not. Of course Panasonic is only one example, and I chose them because, of late, I have heard so many CRAP spin-offs of their (once) unique idea that I am almost convinced that they cannot be bettered. The more shite there is to wade through, the tougher the boots have to be. Why this tirade, I hear you shriek. Well, it's because I like to be surprised by what I hear, and not be obliged to don my whale skin wellies each time I put a CD in the player. Fortunately, this release by Stilluppsteypa meant that they could rest their rubberised soles for a time, while I basked in the masterful sonic manipulation that oozes from this music. It's an exceptionally cool and unique work from the mirthful Icelandic collective who avoid the prevailing inclination to make poor quality carbon copies of someone else's' work, and manage to take the very best of many different compositional styles and mutate them into a language all of their own. An audible travelogue about the continent of sound, full of mysterious, low valleys and dynamic, high gleaming peaks. - Vital Weekly.