Sigur Ros Hvarf/Heim by: Ed Butler Tue:20-Nov-07 Label: EMI Year: 2007 WB rating 86 out of 100

There's something cringe-worthy about bands or artists re-recording and re-releasing collections of their better-known songs. Two glaring examples of the inflated egos and utter lack of musical inspiration that spring to mind are Bon Jovi and Alanis Morisette's insipid acoustic 're-imaginings' of their best-of and only hit album respectively. So it is with an understandable measure of trepidation that anyone would approach Hvarf/Heim, one half of which (Heim, or 'Home' for the monolingual among us) is a reworking of six tracks sourced from Sigur Ros' peerless back catalogue.

Thom Yorke was once reported to have queried the wisdom of re-making a song, asking an impertinent journalist “you wouldn't re-write a novel, would you?'', which sounds like a fair question. Of course, this was before Radiohead included 'Morning Bell/Amnesiac' on Amnesiac in 2001, but the point remains valid; why do it? Were you not happy with the first try?

Heim, however, feels an entirely different beast from other bloated, self-indulgent forays. Stripped of studio excesses, computer-created atmosphere and multi-layered recordings, the songs are allowed to breathe. What were once densely packed, impenetrable and cryptic songs become spacious, welcoming. Gone is the almost divine aloofness of the original recordings (which, it must be said, was part of their appeal), and it feels as though the listener can actually stroll in amongst the musicians as they play – this setting most probably a small, charming shack on a picturesque Icelandic plateau (yes, every Sigur Ros review requires, by law, at least one reference to their spectacular native geography).

It doesn't always work. 'Vaka', better known as 'that first song from the brackets album', aka 'Track One' from their masterpiece, ( ), loses a great deal of the goosebump-inducing magnificence of its climax, absent its distorted vocals and multi-layered strings. And 'Heysatan' from 2005's Takk…, while still undeniably pretty, is essentially the same song.

But when they get it right, it's glorious. 'Samskeyti' ('Track Three' from ( ) – one bonus of Hvarf/Heim is learning the names of much loved songs which never really deserved the numbered conceit they initially received) comes vividly to life, an accordion and a small string section take the place of the computer-enhanced, slowly building, ghostly orchestra. But when the piano shifts up an octave, it's no less breathtaking, and in fact is so much more human, so accessible, that, in its own way, the song is even better the second time around.

It's reassuring to know that when all the effects, tweaks and enhancements are removed, what remains are immaculately written songs. 'Staralfur' is still splendid, while the true highlight is the title track from the band's debut, Von. On their first album, Sigur Ros were somewhat overenthusiastic in their excesses, but 'Von' now sounds like the magical eight-minute aural slideshow it was probably intended to be.

Equally worrying as the re-release is the B-sides compilation, which constitutes side two, named Hvarf or 'Haven'. Why, pray tell, if a song was not good enough to crack it onto another album, should the fans fork over their hard-earned in order to listen to what the band openly admits is second rate (hence 'B'-side)? And it's true, not many – if any – of these songs could work their way onto the majestic releases that were Agaetis Byrjun, ( ) and Takk…, but hearing this material is still thoroughly rewarding, an insight into the gaps between each record.

Opening track 'Salka', for example, is the missing link between ( ) and Takk…, combining the icy inhumanity of ( ) with occasional splinters of warmth surging through ever-widening cracks. 'Hjomalind' is an even more conventional pop-song than the undeniably pretty 'Hoppipola', and occasionally veers dangerously close to Coldplay-ish generic climaxes, but is saved, as always, by the beauty of singer Jonsi Birgisson's voice.

But best of all, and the real highlight of this two disc set is the emergence of '’Hafsol', a live staple for some time. Bass player Georg Holm picks up a drumstick and beats out a rhythm on his E-string, while strings, samples, vocals, plucked violins and the now ubiquitous cello bow-playing-electric-guitar wash around it. On stage, it is positively epic, with Jonsi's bow usually winding up a mess of snapped gut, and the recorded version doesn't disappoint – providing a justification for B-side releases, if only to let hidden classics like this through the cracks.

Sigur Ros have proven themselves time and again, and could be forgiven the smugness of a B-sides release, even if it wasn't up to scratch. The fact that their discards can reach such lofty heights as this simply reaffirms their place at the forefront of today’s musical acts.