strings: amiina (hildur ársælsdóttir, edda rún ólafsdóttir, maria huld markan sigfúsdóttir, sólrún sumarliðadóttir). Greenblatt, Leah (12 September 2005). "Takk". Entertainment Weekly. Archived from the original on 18 January 2017 . Retrieved 12 January 2016. orri: “we are not trying to be spiritual, or anything. we are making music that moves people. trying. you know, we want to do that. you know that people get something out of it. maybe that is spiritual?” Hermes, Will (October 2005). "Sigur Rós: Takk..." Spin. 21 (10): 140–42 . Retrieved 12 January 2016.

georg: “it was something that we were trying to work into gong itself for ages. almost from the day that we wrote it we were trying to work this little bit that we had into that song because we never felt that it fit. but, it should have been there. so on this record, it got a life of its own and became another song. even though it is a part of gong it is still something completely different.” kjartan: “i myself have emotionally connected to some music. that’s a very private thing for me i can’t really er… i couldn’t give that up or anything. no one can really ruin it for me because it is my thing. and i think that is very important when you are, you know, putting out music or delivering music to the world or whatever, that you don’t take that away from people. that is more like for instance when you put your song to a commercial or something and the song is going every twenty minutes on a tv stations and it is supporting a brand of some sort. that’s what really ruins music for people i think. it is just so personal, especially for people that are young and sentimental. also i think that people maybe forget it as well. you know that is these emotions that kind of are bound with the music.” jónsi: “mílanó is especially long. it is kind of more like a jam session or something. or you know… an organised jam session.”kjartan: “ságlópur is kind of the mad boat trip. and the weather, you know, tilted the boat, and the sailors er… kind of drowned at the end of the song – or got saved miraculously or something.” georg: “i think that we have surprised ourselves with a lot of the songs on the record. erm.. i wasn’t very surprised with hoppípolla because i think it really sounds like us. it started off as a tiny little sound bite and then became the song.” in this 30 minute short film below you can listen to an interview with the band members in which they talk about each song on takk individually. the band tells us about the origin, inspiration, recording process, and general comments about the songs on takk. the interviews are accompanied by images of the band’s surroundings in álafoss and reykjavík.

Matt laminated inner sleeve with die cut cover holding 3 x printed inner bags with gloss varnish detailing Glósóli" and " Sæglópur" were released on 15 and 16 August 2005 as the first and second singles respectively, the former worldwide and the latter only in the United States. " Hoppípolla" was released in the UK on 28 November 2005 as the third single. It peaked at number 24 on the UK Singles Chart in May 2006. All three singles were accompanied by a music video.

British album certifications – Sigur Rós – Takk". British Phonographic Industry . Retrieved 22 April 2021. I like to think of Takk... and the band's earlier album () as one story. () represents winter, with its cold, sad sound, and Takk... represents spring, with its warm, upbeat, hopeful sound. The artwork of () is white and cold, while the artwork of this album includes birds flying in all directions and trees covered in leaves. It would be impossible for me to choose one of these albums over the other. They are very different albums and, in my eyes, are both classics. Takk... was pretty much bound to be a letdown after the release of two legend-making records. To state that Sigur Rós went mainstream is wrong, they never went mainstream, but they did polish it up a bit, and made their sound more user accessible. Songs like "Hoppípolla" are frequently used in commercials, nature programs, and "my perfect summer" videos on YouTube. However, when a song is really, really good, commercial appeal figures. In no way do I feel Sigur Rós has abandoned their original sound, it's still there, and it's still good.

Hasty, Katie (28 June 2008). "The Fast And The Furious" (PDF). Billboard. p.61 . Retrieved 15 July 2019. This is truely one of the most beautiful, awe inspiring, honest pieces of work I have heard in the last few years. It is as if the music incompasses you with a gigantic bubble and transports you to a far away place that just is. It is an incredible piece of musicianship. Dynamic and vibrant. Tight and well produced. Well written above that. What I especially like about this album over their previous is the fact that many of the themes and motifs are not as repeative as say on () where the last half of the album feels like the same song over and over and over and over again. Although the overall album is quite soft, their are bits of pieces here and there that are surprisingly rough and distorted. The second song is one of the few pieces of music that will actually bring tears to my eyes. Lamoreaux, Jason T. (December 1, 2005). "Somewhere Cold Awards 2005". Somewhere Cold. Archived from the original on September 30, 2020 . Retrieved September 30, 2005. orri: “it takes a long time to get to the point. it just feels normal to us. we are doing it at our pace. it feels right to us to do it that way.” georg: “our first record was called “hope” in icelandic. but i think “melancholy” is something we all feel when we are writing the songs. but in melancholy there is always this little bit of hope inside. it’s sort of a nice feeling. it’s ‘introvert”, is that the correct word? you feel inside yourself, you feel a bit down but you feel good about something, there’s something really nice, something warm, somewhere in the music.”Takk was the one where they finally got happy, albeit in their own inimitable and deeply inscrutable, north Atlantic way. This is the record that gave the world Hoppípolla, a song which cemented Sigur Rós’s reputation for being the go-to band for anyone wanting a sense of wonderful possibility in their film/TV show. The record also harboured moments of definitive Sigur Rós drama in singles Glósóli and Sæglópur, and high beauty in Sé Lest and Svo Hljótt. kjartan: “hoppípolla is the only song that we didn’t write together in the pool. it was all done up here in the control room. we had a loop and we built a song about our endless loop – the loop in the beginning of the song. i’m not going to tell you where that loop is from.” kjartan: “we borrowed björk’s celesta for this record. it was great to have it. i think that ’sé lest’ was the first song that we used it on.” georg: “when we started writing the songs, we knew where they were going. they were going to build up into something, an explosion in a way because they are sort of like stored up energy. we just start playing it softly and it just builds up into this explosion. and for us it just feels natural that the songs should be like that and i think for audiences when they listen to them i think they feel the energy and it builds up inside of them as well. when it finally explodes its great. it’s a fantastic feeling.”