Podcast Summary

New Books Network

Host: Dr. Miranda Melcher
Guest: Dr. Arnar Eggert Thoroddsen
Book: Icelandic Pop: Then, Today, Tomorrow, Next Week (Reaktion Books, 2025)
Date: October 18, 2025

Episode Overview

This episode delves into the unique history, culture, and ongoing evolution of Icelandic popular music, as explored in Dr. Arnar Eggert Thoroddsen’s new book. The discussion investigates why Icelandic music holds such a notable presence internationally despite the country's small population and remote geography. Dr. Thoroddsen and Dr. Melcher examine the roots, myths, and realities of the so-called "Icelandic music phenomenon," connecting it to cultural, social, and industry developments from the 1950s to the present.

Key Discussion Points & Insights

1. Introduction: Why Study Icelandic Pop?

• Dr. Thoroddsen explains his dual background as a sociologist and music critic, and his firsthand experience participating in the Icelandic music scene.
  • “I was in an experimental rock music in the 90s...a partaker, an audience member, a musician as well.” (03:15)
• The book responds to international curiosity about why such a small nation has outsized musical impact.

2. The Roots: American Influence & Early Emulation

• Iceland's unique geographic and cultural position: a micro nation (~400,000 inhabitants), closely Americanized.

  • The U.S. military presence (1941–2006) introduced new sounds, technologies, and pop culture (e.g., radio, TV, bowling alleys).
  • US radio signals, though sometimes resisted locally (notably in Keflavik), accelerated the adoption of American rock and roll.
  • “Keflavik, as I say, is the Liverpool of Iceland because that was the capital of the beat boom.” (08:06)

• Parallel with Liverpool’s exposure to U.S. music through its port and sailors (06:31).

3. Iceland’s “Beatles” and the Lag in Trends

• Icelandic bands like The Chords (Kviðnir) modeled themselves on The Beatles, albeit with a time lag.
  • “We get like a copycat groups of the Beatles… they played music in the style of the Beatles, but…he [the songwriter] has the gift.” (09:13)
• Developments in Icelandic pop often trailed international movements by a year or more (11:13).

4. The 1970s: Birth of a Distinct Icelandic Voice

• By the 1970s, musicians stopped trying as hard to break out internationally and focused on localized, authentic expressions:
  • Icelandic humor
  • Heritage and folk themes
  • Social realism
  • Incorporation of Icelandic language and folk music into progressive rock
  • “People kind of gave up and thought, well, as no one is listening, let's just do our stuff. And that gave way to... better music, more exciting music.” (14:46)
• In 1975, the first professional recording studio was built in Iceland, enabling local production (14:46).

5. Genre Transmission & “Lagging” Adoption

• Not every genre arrived—or thrived—simultaneously in Iceland:

  • Prog rock didn’t properly take root, with only later emulation and a more psychedelic, folksy sound prevailing (13:02).
  • Punk arrived notably late (around 1981, four years behind the UK/US) due to lack of social/economic turmoil among Icelandic youth (17:19).
    • “The Icelandic punk scene is quite interesting...it explodes in Iceland in 1981, which is four years behind.” (17:19)

• Metal: Despite the strength of the modern metal scene, true heavy metal did not emerge until about 1985, with an explosion of extreme metal in the 1990s, aided by the global reach of the internet (25:08).

  • “The black metal scene, the death metal scene... is very healthy now… the biggest, you know, juvenile youth music scene here now.” (25:08)

6. The Icelandic Approach: Community, Lack of Bureaucracy, and DIY Spirit

• Iceland’s small size and societal closeness foster collaboration and experimentation.
  • Lack of bureaucracy means bands can form and get public exposure easily.
  • “It's relatively easy to form a band and make it happen somehow. Icelanders tend to not think about any, you know, difficulties in executions... something will happen.” (19:59)
  • Decision-making is informal and organic, compared to more structured approaches in larger countries (23:50).

7. Synergy with Other Arts: Film’s Impact

• The importance of a punk documentary in the 1980s (featuring “Bubbi” and others) in influencing the 1990s underground/alt-rock scene.
  • The communal circulation of VHS cassettes helped shape young musicians.
  • Iceland has produced several acclaimed film composers, such as Jóhann Jóhannsson and Hildur Guðnadóttir (Oscar winner for “Joker”).
    • “We had a flowering of film composers... Jóhann Jóhannsson... Hildur Guðnadóttir… Ólafur Arnalds, these are big names in the film composing world.” (29:30)

8. Industry Structure: Microcosm of the World

• Iceland has the same fundamental infrastructure as larger nations, but on a smaller scale:
  • Export offices, talent scouts, “battle of the bands,” media appearances, and music camps.
  • “The simple answer is it's the same system as in the UK, just smaller.” (33:29)
• Despite attempts to emulate bigger countries, Iceland’s size means everyone knows most musicians, and scenes are more intertwined.

9. The Meaning of “Success” and Changing Conceptions

• Early international breakthroughs (Björk, Sigur Rós) defined the stereotype of “weird” Icelandic music.
  • “People from abroad...were expecting a bit weird music from Iceland. That became like the template...” (35:12)
• Now, pop acts like Of Monsters and Men, Kaleo, and Laufey succeed globally without emphasizing their Icelandic origins.
  • “Now you can just be a famous band and you happen to be from Iceland. And that's a very interesting development.” (35:12)

10. Identity: Is “Icelandic Music” a Useful Category?

• Musicians retain a sense of Icelandic identity, but are not constrained by it.
  • Some artists, like Of Monsters and Men, do not “play the Icelandic card” (38:10).
  • There is both pride in the community and occasional fatigue from international expectations about Icelandic uniqueness.
  • “Sometimes get tired of being an Icelander in that sense... I'm just going into a bakery to get some, you know, bread.” (39:32)

11. State of the Scene (as of 2025) & The Future

• The supposed “phenomenon” endures, but is less mysterious; Iceland shows how a micro-nation can consistently develop a vibrant, globally visible music culture.
• Current star: Laufey (pronounced “Loewe” in Icelandic), blending 1940s jazz for modern audiences.
  • “Loewe... she's really playing this well and she's getting quite big as an international star...delivering this post-war jazz into modern households.” (40:16)
• Dr. Thoroddsen’s hope: Readers/listeners will explore beyond the most well-known acts and sample the full range of Icelandic music through streaming (42:19).

Notable Quotes & Memorable Moments

• “Keflavik… is the Liverpool of Iceland because that was the capital of the beat boom.” (08:06)
• “We finally get the birth of what we could call Icelandic popular music with Icelandic characteristic... people singing with Icelandic lyrics which they thought would not be appropriate if they would like to be famous abroad. But now they were just doing their stuff within the confines of Icelandic society.” (14:46)
• “It's relatively easy to form a band and make it happen somehow. Icelanders tend to not think about any, you know, difficulties in executions… something will happen.” (19:59)
• “For a very long time the most famous music experts from Iceland were Siguros and Björk, both artists that are…left off mainstream. People…were expecting a bit weird music from Iceland. That became like the template…” (35:12)
• “Now you can just be a famous band and you happen to be from Iceland. And that's a very interesting development.” (35:12)
• “Check out the 70s prog rockers, check out the punk music…it's all about the music at the end.” (42:19)
• “Sometimes you get tired of being an Icelander in that sense. You know… wow, isn’t it great to live in a nation where there are volcanoes and snow and avalanches… hey, relax, I’m just going into a bakery to get some, you know, bread.” (39:32)

Useful Timestamps

• [02:41] – Dr. Thoroddsen’s background and book motives
• [04:25] – Is there really an “Icelandic music phenomenon?”
• [06:31] – American cultural impact & US military base influence
• [08:06] – Keflavik as Iceland's “Liverpool” and the emergence of local Beatles-like bands
• [11:39] – 1969 turning point, progressive rock, and local authenticity
• [14:46] – 1970s as the birth of true Icelandic pop with local identity
• [17:19] – The late arrival/purpose of punk in Iceland
• [19:59] – Community, lack of bureaucracy, and DIY spirit
• [25:08] – Metal’s late emergence and current health of the scene
• [27:47] – The impact of film and key documentaries
• [31:36] – How Iceland’s music industry nurtures young artists
• [35:12] – Changing perceptions of “success” and the legacy of Björk/Sigur Rós
• [38:10] – Icelandic identity: pride and fatigue
• [40:16] – Laufey as the current international success story
• [42:19] – Final thoughts and plea to listeners

Conclusion

Dr. Thoroddsen’s findings challenge the notion of Icelandic music as an inexplicable oddity, instead revealing how geography, communal ties, creative freedom, and globalization combine for sustained innovation. The diversity of Icelandic pop is underscored—it's not just “weirdness” that brings success, but the confident pursuit of authenticity and international relevance. The conversation encourages listeners to explore the deep, varied catalogue of Icelandic music, old and new.

Further Listening & Reading

• Icelandic Pop: Then, Today, Tomorrow, Next Week by Dr. Arnar Eggert Thoroddsen
• Explore beyond Björk & Sigur Rós—try Icelandic 70s prog, 80s/90s punk, death metal, and contemporary acts such as Laufey.