Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

Samaris return with a brand new album ‘Black Lights’ via One Little Indian on 10th June.
Written and recorded over the past year in Berlin, Reykjavik and Ireland, ‘Black Lights’ is the Icelandic trio’s most fully realised and accessible record yet - sung for the first time entirely in English, and headed up by gorgeous lead-off single ‘Wanted 2 Say’, released on 8th April.

Icelandic folk-pop duo Pascal Pinon (named for an early 20th century circus performer known as "the Two-Headed Mexican") formed in Reykjavík in 2009 around the talents of twin sisters Jófrídur and Ásohildur Ákadöttir. The pair, along with the help of bandmates Halla and Kristín, crafts precious, quirky indie folk that has drawn comparisons to Tegan and Sara and Seabear. Pascal Pinon's eponymous debut, which is sung in both English and Icelandic, and was recorded when the girls were both 14, arrived in December 2010. ~ James Christopher Monger

“Óveður” is the name of a new song Sigur Rós debuted during recent festival performances, and also served as the soundtrack for the band’s 24-hour “slow TV” “Route One” stream. Now, as the stream comes to an end, the band has premiered the full studio version of the song via a new video.
Swedish director Jonas Åkerlund shot the clip in the village of Grindavík on the Reykjanes peninsular. Icelandic choreographer Erna Ómarsdóttir features in the video as an unkempt drunk stumbling her way through town. She eventually hits upon a smokey bar, where members of Sigur Rós are having a drink with some other interesting characters. Things take a bloody and briefly nude turn, so consider this a slight NSFW warning.

Björk这女人从骨子里透着天然妖气势不可挡。
今天介绍她早期时候，和乐队一起制作的专辑《Gling Glo》。Björk的曲风还算挺多变的，每张专辑都有不同的侧重点。这张专辑有点年数了，1990年9月的，是张传统冰岛爵士唱片。喜欢爵士的朋友，不妨载来听听，别有风味。
1990年，Bjork 和一个叫Trio Gudmundar Ingolfssonar的当地一支爵士三重奏乐队，录制了一些爵士乐歌曲，全张专辑的曲子都上用她的母语——冰岛语演唱。这张专辑的名字是《Gling-Glo》，但当时只有在冰岛发行。Bjork担任VOCAL，Gudmundar负责钢琴伴奏。乐队的另两位成员分别完成爵士鼓和BASS的部分。如果你是BJORK的忠实乐迷，在收集了她所有的英文唱片之后，又怎能错过这张欢快而绝妙的冰岛语爵士唱片呢？
Bjork一直被当作另类女王，电子舞曲的弄潮儿。谁想到她更是一流的JAZZ VOCAL！冰岛语表演的爵士，卷舌音清脆浓郁。让人几乎在欣赏音乐的同时，也爱上了这种语言本身的发音。有着俄语一般的华贵，是狂欢节的呓语。
Gling-Glo在冰岛语里是一个相当于英语TIC-TOC的象声词，即中文里"叮当"的钟声，那更接近于教堂的钟声。Gling-Glo作为唱片的第一首曲目，表达了一个简单而幸福的场景。"月亮在云朵上微笑，钟鸣叮当，男孩在路上，女孩等着他，男孩幸福地笑着，因为女孩回答说我愿意。"清脆、嘹亮，简单、快乐。不过这种简单的幸福，如今匆忙的人世中，几近一种昂贵的药片。唱片中几乎所有的作品，都表达了简单的场景和意义，小孩子、小日子、小快乐……但这些难道不是一种大幸福吗？
作为专辑的点题作“Gling Glo”，丁冬的琴音，乖巧的女声，恍惚置身一个简单而幸福的场景，这份简单，在如今烦嚣的尘世中，真个是一份奢侈。紧接而下的“Luktar-Gvendur”，更感暖意浓浓，此时方才充实。听过此碟，相信会发现Bjork在里面卷舌音的运用、咬字的处理很有自己独到的一套，极易感染听者，如“Kata Rokkar”、“Brestir og Brak”等。在“Eg Veit Ei Hvad Skal Segja”、“Rornin Vid Tjornina”中，小孩般的嬉闹，竟如在听儿歌。“Ruby Baby”那略带点儿轻爵士的味道，又如同烟雾缭绕般的迷惑。
Björk唱得像个顽皮的小男孩。这个精灵愿意飞到人群中，扒开他们僵直的脸部肌肉吗？闲看都市大厦间穿行的红男绿女，总奇怪他们为什么都一个表情？--僵冷的、扮酷的，漠然的，骨子里却是极度不安的。都市人缺乏随意闲适的心情，这个时候请参照Björk，多点孩子气，或许更好看一些。
《Gling Glo》可以放在酒吧里听，懒懒的，但味道浓郁，这就是爵士下的迷幻药。它是一张在你最最伤心难过的时候，也可以让你的心情明亮起来的作品，这是音乐的曼妙力量。如果你觉得Bjork冷，那么GLING-GLO决不会。它饱和的音乐色彩，像节日的礼物，当幸福的钟声响起，孩子迫不及待地打开它……
相当令人惊讶的专辑，你一定会喜欢。

Post是冰岛歌姬Bjork在1995年发行的专辑.
　　这张专辑比上一张(处女作Debut)更为隐晦,更为成熟.这张犹如史诗般的专辑把人们的耳朵从泛滥的舞曲和工业化的流行乐中苏醒.可以说来得正是时候.
　　第二张专辑能够远远超越第一张作品的艺人并不多.但Bjork显然是一个例外.更强的节奏感,更具创意的制作,对世界更宽广的洞察力,Bjork的这张专辑在时隔10年的今天,听起来同样如同10年前那样令人耳目一新.通过这张经典的专辑,Bjork不仅仅改变了90年代的唱片界,同样改变了我对音乐的理解和感知.是本人强烈推荐的一张专辑.
　　This Icelandic marvel is such an original that, even after four Sugarcubes albums and a brilliant solo Debut, she remains an acquired taste. "Army of Me" is a turbulent, darkling tune that's almost conventional next to the gloriously eclectic material that follows. Working with Tricky, Soul II Soul/U2 producer Nellee Hooper, and string arranger/one-hit wonder Deodato, Björk looses her helium-fueled voice and surreal wordplay on Gershwinesque pop (the adorable "It's Oh So Quiet"), ambient dub ("Possibly Maybe") and all kinds of fresh dance/pop hybrids ("Enjoy," "Hyper-Ballad," "I Miss You"). Too raw and adventurous for mass success, perhaps, but a more unique, engaging, oddly accessible artist just doesn't exist. --Jeff Bateman

Ólafur Arnalds brings you the second single from Island Songs, his 7-week journey across Iceland to record a series of compositions. Watch 1995, where he collaborates with music teacher and organist Dagný Arnalds.

Prolific and critically acclaimed composer Jóhann Jóhannsson releases his DG debut album.
ORPHÉE is his highly anticipated new studio album the first in 6 years!
Jóhannssons genre-blending score represents all facets of his previous works from intimate string quartet pieces, to large string orchestra works, featuring electronics, drones, organ, piano, choir, as well as enigmatic shortwave broadcasts to create an evocative & immersive sound.
I started writing this album in 2009, using a number of simple contrapuntal themes. I began to reshape and transfigure these ideas, writing many different variations. These renderings slowly mutated over time in a process of deconstruction and re-assembly, to the extent that the original versions began to fade into the darker corners of my hard disk. Unlike many of my previous albums, this one didnt start out with a conceptual or narrative theme binding the music together. Rather, the music seemed to be waiting for its form, for its momentum. Jóhann Jóhannsson
ORPHÉE is a melancholic, yet optimistic musical journey inspired by the Orpheus myth Orpheus rising from the underworld, trying to escape darkness into the light.
Orphée was for me about moving to a new city, breaking up old relationships and beginning new ones, leaving behind an old life in Copenhagen and building a new one in Berlin. I think thats why I gravitated to Ovids version of the Orpheus myth, which tells of death, rebirth and an artist s search for truth. This album is an oblique reflection on personal chang

Most music lovers first heard of Amiina due to their association with another Icelandic band called Sigur Ros. The girls started working with Sigur Ros in the mid 90's, resulting in their first shows with the band in 1999. The rest, of course, is history, as Amiina became the string players for all of Sigur Ros' subsequent tours and records.

Like the sound of cooing, aspects of Amiina's music flicker quietly and float softly, content and beautiful. Kurr is full of dazzling moments of that caliber, a wholly original work that is delicate, intricate and dream-like. Their music is genuinely so special, ineffably charming and infused with a sense of cosmic magic. It's certainly wielded that power on us.

Hildur Guðnadóttir is a cellist and composer. Best known for her collaborations with múm and guest appearances with Pan Sonic, she has a rich catalogue of collaborations and varied projects behind her.
Guðnadóttir began playing cello as a child, entered the Reykjavík Music Academy and then moved on to musical studies/composition and new media at the Iceland Academy of the Arts and Universitat der Kunste in Berlin.
As a composer she has written music for plays, dance performances and films, pieces for chamber orchestras, various instruments, voices and electronics. Guðnadóttir likes to explore the nature and movement of sound, and often turns her experiments into sound and visual installations. She recently co-composed a live soundtrack to Derek Jarman's 1980 film In The Shadow of The Sun with legends Throbbing Gristle, arranged choir for performances by them in Austria and London.
Rebels in Control have designed her new website, launched in support of her second solo album (and her first for Touch), "Without Sinking". The website runs on a CMS spine, so Hildur can update the contents herself. Its design features the beautiful landscape photography of Jon Wozencroft, used on the album's packaging.