Sigur Rós | Hoppípolla
Sigur Rós' "Hoppípolla" - how a converted swimming pool studio, a rejected title, and Icelandic puddle-jumping became the post-rock anthem that conquered BBC documentaries in 2005.
Story Behind “Hoppípolla”
The Money Song That Nearly Tore the Band Apart
“Hoppípolla” was originally nicknamed “The Money Song” during early writing sessions, as the band was certain they had created something with genuine commercial potential. What started as confident optimism about a sure hit quickly became a source of internal tension. Keyboardist Kjartan Sveinsson later recalled to Uncut magazine that the track sparked heated debates within the band. Yet despite—or perhaps because of—the creative friction, the song emerged as something genuinely special.
The title itself carries childlike simplicity. In Icelandic, “Hoppípolla” is a univerbation of “hoppa í polla,” which translates to “hopping into puddles.” The lyrics are primarily in Icelandic with nonsensical phrases in “Vonlenska” (or “Hopelandic”), a made-up language the band has pioneered. There’s something beautifully absurd about this—a post-rock band creating their most commercially viable moment by literally singing about jumping in puddles. Jónsi, the band’s frontman, has described the album’s lyrical approach as intentionally simple. The song captures moments and small adventures rather than deep philosophical territory, yet somehow it resonates with millions of listeners worldwide.
From Icelandic Countryside to Global Phenomenon
Takk... was recorded at Sigur Rós’s own Sundlaugin studio in the Icelandic countryside with producer Ken Thomas in 2005. This wasn’t just any studio—Sundlaugin translates to “The Pool,” a converted swimming pool with renowned acoustics that had become the creative home for the band’s most ambitious material. The studio’s unique acoustics and the band’s collaborative spirit during recording sessions created the atmospheric qualities that define the track.
The recording approach differed fundamentally from their previous album ( ). Rather than pre-writing arrangements, the band improvised and recorded simultaneously, with the basic structure of six tracks completed by January 2004. This spontaneous creative method gave Takk... an immediate, alive quality that perfectly suited the emotional directness Jónsi and the band were pursuing. Kjartan later described it as “our happy album,” and the recordings captured a band that had learned to balance their ethereal experimentalism with genuine melodic warmth.
“Hoppípolla” Recording and Production Details
The Orchestral Architecture
Ken Thomas served as co-producer and engineer, with the track recorded and mixed at Sundlaugin Studio, then mastered at Sterling Sound in New York by Ted Jensen. The production married minimalist restraint with orchestral grandeur. The arrangement featured contributions from string quartet Amiina, plus trombone, trumpet, tuba, viola, and violin players performing composed parts. This wasn’t overdone arranging—each instrumental layer served the song’s core emotion rather than cluttering the landscape.
Jónsi’s falsetto remains the emotional center, delivered with the kind of restraint that makes you lean closer to listen. The piano motif that carries much of the track is deceptively simple, almost childlike in its execution, yet it creates the kind of earworm quality that explains why the song infiltrated documentary soundtracks worldwide. The track’s majestic piano motif became iconic enough that it reached emotional heights in numerous film and TV moments, cementing the band’s reputation as the go-to choice for moments of “wonderful possibility.”
The Production Philosophy
The beauty of “Hoppípolla” lies in what it doesn’t do. There’s no massive crescendo, no dramatic build that culminates in overwhelming spectacle. Instead, the track maintains a patient, almost meditative quality throughout. The orchestration breathes around Jónsi’s vocals rather than competing with them. This restraint required discipline—any producer could throw more strings, more percussion, more drama at a composition. Ken Thomas’s work here demonstrates understanding of when to add and when to resist.
Notes About “Hoppípolla” by Sigur Rós
Release Date: November 28, 2005 (single), September 12, 2005 (album)
Duration: 4:30
Genre: Post-Rock / Alternative Rock / Chamber Pop
Album: Takk... (4th studio album, track 3)
Producer: Ken Thomas
Label: EMI Records / Geffen Records
Chart Performance: #24 UK Singles Chart (May 2006); over 10 million Spotify streams
Notable Usage: BBC’s Planet Earth (2006), Planet Earth II (2016), Blue Planet II (2017), Slumdog Millionaire trailer, Children of Men trailer
Sigur Rós “Hoppípolla” Era Band Details
Album Details
Album: Takk... (meaning “Thank You” in Icelandic)
Release Date: September 12, 2005
Label: EMI Records / Geffen Records / Krunk (reissues)
Producer: Ken Thomas (co-producer and engineer)
Recording Location: Sundlaugin Studio, Álafoss, Mosfellsbær, Iceland (converted swimming pool)
Mastering: Sterling Sound, New York (Ted Jensen)
Recording Approach: Spontaneous composition and recording simultaneously; no pre-written arrangements
Album Concept: Return to emotional directness; “the happy album” after the experimental minimalism of ( )
Band Members/Personnel
Jón Þór “Jónsi” Birgisson - Vocals, Guitar
Georg Hólm - Bass Guitar
Kjartan Sveinsson - Keyboards, Arrangements
Orri Páll Dýrason - Drums
Ken Thomas - Co-producer, Engineer, Mixing
Amiina (String Quartet) - Strings arrangement and performance
Júlía Mogensen, Kristín Lárusdóttir - Cello
Helgi Hrafn Jónsson, Samúel Jón Samúelsson - Trombone
Eiríkur Orri Ólafsson, Snorri Sigurðarson - Trumpet
Össur Geirsson - Tuba
Eyjólfur Bjarni Alfreðsson, Stefanía Ólafsdóttir - Viola
Gréta Salóme Stefánsdóttir, Ingrid Karlsdóttir, Matthías Stefánsson, Ólöf Júlía Kjartansdóttir - Violin
Ted Jensen - Mastering
Album Production Notes
Recorded September 2004–June 2005; mastering completed before release
First album where songs were not pre-written before recording; the band composed and recorded simultaneously
Takk... quickly became the band’s biggest-selling album worldwide, fueled by “Hoppípolla’s” extensive usage in BBC’s Planet Earth
The album achieved Platinum certification in the UK and Gold in the US
Vinyl limited to 1000 copies (December 2005); reissued on Krunk label with 20th anniversary edition in 2025
Interesting Facts About “Hoppípolla”
The Video That Made Elderliness Cool
The music video, directed by Arni & Kinski and filmed in November 2005, depicted two groups of elderly friends strolling through Reykjavík suburbs, acting like children—pulling pranks, battling with water balloons and wooden swords near a cemetery, and quite literally hopping in puddles. The band members made cameo appearances: Kjartan as the victim of a prank, Jónsi as a shop cashier, Orri repairing his bicycle, and Georg cleaning. The video’s genius lies in its refusal to take itself seriously while celebrating something sincere—the joy of abandoning dignity.
The Soundtrack Takeover That Annoyed Jónsi
Jónsi told Gigwise that “Hoppípolla” has been extensively overused on British television, noting that UK TV producers can license music via PPL without asking artist permission for background music in programs. While Jónsi expressed frustration about this overexposure, he acknowledged that the David Attenborough Planet Earth feature was genuinely cool, as the band are all fans of his work. It’s an interesting tension—massive global exposure through channels the band didn’t entirely control, yet the song’s association with natural beauty feels oddly fitting for a composition about finding wonder in simple moments.
The Track That Changed Everything
Released as the album’s second single on November 28, 2005, “Hoppípolla” became the band’s most successful single and is considered the best-known song within the post-rock genre. The initial release had limited impact, but republication in May 2006 by EMI (distributed by EMI), coinciding with its BBC use, brought critical mainstream acclaim and brought the track to international recognition. What started as internal creative tension transformed into a global phenomenon—proof that sometimes a band’s doubts about a song are precisely what drives them to make it special.
Common Questions
Q: What does “Hoppípolla” mean? A: The title is Icelandic for “hopping into puddles.” It’s one of those perfectly simple concepts—childlike joy distilled into a song title. The simplicity is the point; the song captures the pleasure of small adventures and moments rather than grand narratives.
Q: What language is “Hoppípolla” sung in? A: The lyrics are primarily in Icelandic with some nonsensical phrases in “Vonlenska” (Hopelandic), a made-up language the band created. Jónsi uses Hopelandic in place of conventional lyrics when words feel too specific or limiting for the emotional landscape he’s creating.
Q: Why is “Hoppípolla” used in so many documentaries? A: The song was used in 2006 advertisements for BBC’s Planet Earth television series, which introduced it to mainstream audiences. The track’s emotional directness and sense of wonder made it an obvious choice for nature documentaries. Its repeated use has made it perhaps the most recognizable post-rock song globally.
Q: Who produced “Hoppípolla”? A: Ken Thomas produced the track as co-producer and engineer during Takk’s recording at Sundlaugin studio in 2005. Thomas brought technical expertise and the ability to capture the band’s collaborative vision without imposing his own aesthetic too heavily.
Q: What makes this song different from other Sigur Rós tracks? A: While maintaining the band’s atmospheric qualities, “Hoppípolla” embraces melodic directness and emotional accessibility more than their experimental work. It’s less about mystique and more about immediate joy—proving the band could write genuinely catchy music without sacrificing their artistic integrity.