4 awesome and unpronounceable Icelandic bands from the 1980s

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I’m going to rephrase this text in a more conversational style: Iceland, known as the land of fire and ice, is one of the least inhabited nations on our planet, and maybe there’s a reason for that. Over 10% of it is solid ice, and it has around thirty active volcanoes scattered across the island. It feels like this country is alive, constantly shifting and breathing. This unique geography makes Iceland an ideal place for creating intriguing and innovative sounds.

It’s no secret that artists like Björk, Sigur Rós, and Of Monsters and Men are well-known, but have you ever wondered about the musical output from Iceland in the 80s? Did the children of Iceland keep up with music trends outside their island? Absolutely they did!

Here are five bands that will have you nodding your head just as much as they might trip up your tongue with their unusual names.

Four 1980s Icelandic bands worth checking out

Fræbbblarnir

Fræbbblarnir isn’t just Iceland’s initial punk group, it’s also their longest-running one. Formed in 1978, their early style was a distinctive mix influenced by contemporaries like The Clash, with vocals bearing resemblance to Ian Curtis of Joy Division. Given their contemporaries’ significant impact, this blend isn’t unexpected as both bands were making waves on the North Atlantic.

The band’s first album, titled “Would you like a beer, friend?”, offers a lively and bustling journey that openly showcases its contemporary inspirations, including the Clash and the Specials, as evidenced by their well-executed cover of “A Message To You, Rudy”.

This tune serves as an excellent launchpad for the group, and it’s worth noting that the entire album is a humorous commentary on Iceland’s countrywide ban on alcohol (referenced by ‘bjór’, meaning beer).

Between 1980 and 1982, Fræbbblarnir produced two full-length albums, an EP, and several singles. They remained active for five years before taking a 13-year break. However, in 1996, following the re-release of “Viltu bjór væna?”, the band reunited and resumed their music career, releasing more albums from the year 2000 onwards. Their later works showcase a richer sound and effectively blend Iðunn Magnúsdót’s charm into the ensemble.

Purrkur Pillnikk

On the opposite end of the spectrum lies Purrkur Pillnikk, a band whose edgy, angular sound was influenced by darker, more artistic UK groups, giving it a distinct new wave flavor. Although they were only active for a brief 18 months, they were quite productive in the post-punk genre, releasing two full albums, two extended plays, and one live album between 1981 and 1982.

The band debuted into the world with “EhgjI En“, a pressing demand for action that echoes The Fall and Gang of Four’s style, but presented in 17 edgy tracks. Googooplex showcases the band experimenting with an array of new sounds, including an abstract clarinet (“Mig langar”) and various tempos. This creation is reminiscent of The Clash’s famous album “London Calling ” infused with hints of The Buzzcocks for added flavor.

In this closely bonded musical scene, Einar Örn of Pillnikk eventually joined other bands, including Kukl, which included a young Björk Guðmundsdottir. Later on, both Örn and Björk collaborated again in the influential Icelandic band The Sugarcubes.

In this tightly-knit musical community, Einar Ön of Pillnikk later participated in various other bands, such as Kukl, where Björk Guðmundsdottir was also a member. They would reunite and work together again in the influential Icelandic band The Sugarcubes.

Utangarðsmenn

One of the most admired rock/new wave bands from Iceland during the 80s, Utangarðsmenn, was an incredibly powerful group that shone with the intensity of the atomic bomb depicted on their only album cover, Geislavirkir, and produced music that was equally dynamic.

1980’s youth were deeply influenced by the bold style and politically charged songs of lead singer Bubbi Morthens. His leather-jacket persona and lyrics that touched on sensitive issues such as the struggles of migrant workers and the fishing industry left a lasting impact, particularly on societal injustices.

Regardless of political views, the album titled Geislavirkir might be particularly welcoming to non-native listeners for two primary reasons:

1. Its melodies and rhythms are likely to resonate universally, making it accessible across cultures.
2. The lyrics, though in a foreign language, may still convey emotions or stories that can be understood and appreciated by people from different backgrounds.

Initially, driven by their strong ambition to penetrate the global music scene, they incorporated English into their song lyrics. During tours, they would also adopt a simpler stage name, “The Outsiders,” for easier pronunciation.

Additionally, it’s a joyful mix of well-known musical genres. The songs switch between classic rock (“Hiroshima”), obvious reggae (“Kyrrlátt kvöld”, “Viska Einsteins” and the straightforwardly titled “Chinese reggae”), and blues-rock reminiscent of Elvis Presley (“Temporary kick / Let’s go”).

Þeyr

To make sure we’re on the same wavelength, Þeyr (pronounced as “They’re”) was originally a letter that represented the “th” sound and in Icelandic, it means “They”. However, this band is far from ordinary or commonplace.

Þeyr’s 1980 debut album, “Þagað Í Hel,” is a stunning and enigmatic creation in every sense. The vocalist, Magnús Guðmundsson, displays a vibrato reminiscent of ’80s peers (“En…”), only to abruptly steer the listener towards surf-rock territory with characteristic “woo-woos,” as seen in “Nema Jói,” which features Elín Reynisdóttir.

Yet, what’s most unexpected in their performance is a selection of songs that echo the jazz-rock vibes of Steely Dan (“Hringt”, “Svið”), and a song heavily influenced by Reynisdóttir that sparkles with 80s extravagance (“Eftir Vígið”).

If the genre of Þagað Í Hel was perceived as uncertain, their 1981 second album, Mjötviður Mær, offers a more consistent yet enigmatic journey in terms of production and melody. Guðmundsson’s vocals, which are often indistinct or incomprehensible, weave through sinister bass lines and ominous drumbeats to such an extent that it’s challenging to recognize this as the same band.

Discovering rare, old-school music from eras past on Soundcloud is an exhilarating journey, especially when you come across hidden gems from foreign languages like Japanese and Icelandic tracks from the ’80s. It’s like being an archaeologist on a quest for treasure, reminiscent of Indiana Jones!

In simpler terms, you’re experiencing a childlike curiosity when listening to music without knowing its lyrics, questioning how it affects your emotions and what deeper meaning it holds.

See the connection here? Fire and ice indeed, Iceland. Skál!

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2025-05-13 21:00