One last legitimate Icelandic song . . . Here’s the Last.fm write-up of Worm Is Green:
Worm Is Green started as the bedroom electronica project of Arni Asgeirsson, who soon enlisted longtime friends from his hometown of Akranes, Iceland (population 5,500) to flesh out his melodic soundscapes. Solidifying into a group, Worm Is Green began recording the songs that would become Automagic, released overseas in 2004 on Iceland’s Thule Musik (home of múm and The Funerals) and now available in the U.S. on Arena Rock.
Critically praised throughout Europe, Automagic is a wondrous album that pairs Asgeirsson’s intricate sound constructions with a potent rhythm section and the haunting, otherworldly vocals of Gudridur Ringsted. Her ethereal singing peppers a record that flits between ambient dream pop and slightly menacing electro-organic music with beats.
Ringsted shines brightest on a risky cover of Joy Division’s beloved “Love Will Tear Us Apart,” a dramatically different take on a classic that was recorded as a request from Thule Musik’s owner. “He wanted to hear a chillout version with female vocals,” Asgeirsson notes. “The result was very surprising, and everybody liked it, so we decided to put it alongside the other tracks we’d previously recorded for Automagic.”
And here’s their cover of the Joy Division classic:
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in _Morse, My Deaf Friend_— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .