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:
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .