Words by

Jóhannes Bjarkason

Photo by

Axel Sigurðarson

Celebrating the best of Icelandic music

Holy shit! It’s time to judge the merits of last year’s musical output. As the sun revolves around the sun yet again (for how long?), Icelandic musicians have done what they’ve always done — make a shit tonne of music. Take it from us, Icelandic musicians are a prolific bunch. But if you won’t take it from us, then take it from our panel of esteemed judges, comprised of a handful of local tastemakers, promoters, musicians and writers. After poring over the year’s audio output, the panel reached their final decision in early January, 2025.  

Judging the year

We’d like to say that this past year was nothing but rainbows and giggles, but the critical issue hanging over the Reykjavík music scene was (and still is) the vanishing of the town’s performance venues. As reported by the Grapevine in the fall, smaller and mid-sized concert venues are facing extinction as the ravaging tourism sector demands more space for accommodation. Among the locations we bid farewell to in 2024 was Kex Hostel, which shut its doors to live music in August.

But musicians are never afraid of a challenge. In fact, you might say it’s the object of their vocation. Instead of relying on institutional mainstays, many discovered their own means of staging shows, pulling themselves up by the guitar straps and transforming odd spots into exciting hubs. “There’s enough stuff happening in music but there’s a clear demand for venues and music spaces,” highlighted one panel member. Some see it as a boon: things can only get so bad until they start to get better. Right? Right?! 

In 2024, we saw the continued dominance of Laufey (who took home the Reykjavík Grapevine Music Award for Best Artist last year); IceGuys seemed to have broken a record for most sold-out shows in Laugardalshöll; and some of Iceland’s top music exports and household names renewed their relevance.

Emilíana Torrini released her first solo album in 10 years and electronica duo Kiasmos also put out their first record in a decade. Aside from that, Icelandic musicians released swathes of singles, EPs, and albums — too many to do justice in the span of this feature. 2024 also saw the significant ascendance of artificial intelligence into music, whether through pure generation or auxiliary benefit in music production. Judging by their quality, the computers don’t seem to be in any rush to replace flesh-and-blood artists. For now. Who knows, maybe the Grapevine will be giving an award to HAL 10000 in a few years?

Artist of the year: CYBER

Starting as an art school project, CYBER came, saw and conquered the hearts and minds of listeners this year. Paying homage to ‘00s fashion, aesthetics and the cringy teenage years of members Salka Valsdóttir and Joe, CYBER’s album SAD :’( was a feat transgressing mere music. 

“It’s hard to find where their theatricality ends and their music begins,” noted one panellist. During their deliberation, the panel repeatedly found themselves placing CYBER in almost every category. “They killed it this year and can be named the winners in every one of these categories,” a panellist claimed. If that’s not Artist Of The Year material, then what is?

While their album was highly esteemed, what impressed the judges the most was CYBER’s dedication to personal reinvention. “There’s a whole lot of renewal happening with every album, creating new sets of aesthetics on each one — which they totally deliver!” exclaimed one panel member. “CYBER seem to consciously enter distinct artist periods where everything they do fit into a coherent sense,” said another, drawing up a comparison to Picasso’s Blue Period. 

Whether dressed in lace pantyhose and smashing a cake, wedding night-style, for a promotional photo; mud-wrestling together in an inflatable tub on their album cover; or driving around town and picking up passersby in a pimped-out car, decorated to correspond to their album, CYBER’s promotional ploys and marketing strategies were unique and true to themselves, and artfully executed in sync with the themes of their album. 

“They are very clever and know how to execute their strange ideas. There’s so much ambition behind every single detail,” commented one panellist. 

Not to mention their raucous live shows, which seem to blur the distinction between music and a visual art performance, CYBER dominated 2024 and — yet again — showed us that they’re capable of everything they set out to do. 

Runners up:
Bára Gísladóttir
Emilíana Torrini
ex.girls

Album of the year: allt sem hefur gerst by Supersport!

Indie-rock band Supersport! have been busy, releasing two LPs within the span of 12 months, while maintaining a packed schedule of local live shows and international showcases. While grit, productivity and perseverance are certainly influencing factors in creating a meaningful, worthwhile work of art, you also need to be — well — good. That, according to the panel, is exemplified by Supersport!’s 2024 LP allt sem hefur gerst. 

“[Supersport!] have been working towards a sound which they’ve finally found on this record,” remarked one panellist, referring to the band’s idiosyncratic amalgamation of discrete genres. Incorporating elements from noise, indie and emo, pop, and even traditional Icelandic folk music to an extent, allt sem hefur gerst features a host of emotionally powerful — and unbelievably catchy — tracks. 

“They’ve absolutely nailed what they were going for,” argued another panel member. “On [allt sem hefur gerst] Supersport! seems to be more comfortable in their expression than ever before. It’s like a more adult version of Supersport!” quipped the panel member. And in between all that growing up and musical maturity are the band’s distinctive vocal harmonies and delightful, charming demeanour.

Runners-up:
Sideproject — Sourcepond
Sigrún — Monster Milk
Young Nazareth — 200 101 vol. 1

Song of the year — ”Í draumalandinu” by Spacestation

In a short period, rock ‘n’ roll revivalists Spacestation have risen through the ranks as the go-to rock ‘n’ roll outfit in Reykjavík. Their name, sound and general feel of things has almost become synonymous with the city itself, picking up where ‘00s city slickers Singapore Sling left off.  Highlighting the city’s drabness and mundanity through their spirited rock music, Spacestation never shies away from subtly romanticising the humdrum of Reykjavík. Loud and energetic, this five-piece will kick the door down to your party and demand to be invited to it — and then be the last to leave. And while 2023 was a good year for them, 2024 saw the band reach new heights with their June single “Í draumalandinu”. 

“As soon as I heard the song, I was hooked,” one panellist enthused. “Björgúlfur’s vocal performance is so exhilarating, I needed to rewind and listen to it — again and again.” Among the jangly guitars and a propelling rhythm department, lead singer Björgúlfur frantically barks stream-of-consciousness warnings of Reykjavík nightlife and subsequent insomnia. 

“There’s music that’s so cool that it makes you feel cool while you listen to it. Spacestation is that kind of band, and ‘Í draumalandinu’ is that kind of song,” described a panellist. Released at the onset of summer, “Í draumalandinu” managed to rapidly become the soundtrack to the season — and our hearts. 

Runners-up:
Aron Can — “Monní”
Kaktus Einarsson feat. Damon Albarn — “Gumbri”
Oyama — “Cigarettes”

Best visual representation — 1000 Orð by Bríet & Birnir, directed by Erlendur Sveinsson

Let’s be honest. Music videos ain’t the same as they used to be. They’re evolving — increasing their importance as a visual identity for artists. In the wake of social media dominance, traditional music videos have given way to an overall sense of curated aesthetics found online. These visual identifiers include videographic components, but go on to encompass a wider array of attributes, such as an artist’s carefully crafted social media profile and activity. 

So, as a result, music videos receive a lot less circulation than they did. Some might say they’ve even lost their relevance in today’s fast-paced information climate. An overwhelming consensus among the panel showed that that’s not the case. Music videos matter — just in a different sense than they used to. In keeping up with the changing times, the category once titled ‘Best Music Video’ was changed to ‘Best Visual Representation’ in order to account for contemporary developments. 

Admittedly, all the works nominated for the prize this year fall into the traditional music video, but the larger conversation among the panel included more abstract productions. Of the many discussed, one stood out to the panel, resulting in 1000 Orð by Bríet and Birnir and directed by Erlendur Sveinsson, ticking all the boxes. 

1000 Orð is more than a music video — it’s a short film to the eponymous collaboration album by Bríet and Birnir, out in May, 2024. It stretches the boundary of people’s expectations when film is set to music, creating a discrete world inhabited by the two artists. 

“It’s a very ambitious project and a big moment. It elevates music videos to a whole other level,” remarked a panel member. “The film reconsiders the state of the music video. By connecting the two mediums, they augment each other,” agreed another. 

Premiered as the opening film to the 2024 Reykjavík International Film Festival, 1000 Orð sees Bríet and Birnir portray two distraught lovers attempting to erase their memories of each other in a setting blending sci-fi and romance. “Some kind of Eternal Sunshine of the Spotless Mind, except in space,” quipped one panellist. “Both Bríet and Birnir are so effortlessly cool. They’re confident, open their hearts up and allow us to join them on this journey.” 

Runners-up:
BSÍ — lily (hot dog)
Krassoff — Holdgervingur lauslætis (Imagine a Woman)
Múr — Heimsslit

Best Live Act — Xiupill

Runners-up to the same category last year, Xiupill needed one more year of blowing our faces off to cement their hold on the Best Live Act trophy. Firmly planted in Reykjavík’s underground scene, Xiupill mixes genres of punk, hardcore, club music, and gabber to create a mischievous (and unpredictable) explosion onstage. Debuting with the 2023 Pure Rockets and following up with MYTHOLOGY in 2024, this delinquent trio have time and time again shown that they don’t give a fuck. If they’re on the bill, you’ll be blown away — literally. 

“I think they’re a band who don’t need anyone giving them an award — they do exactly what they want to do,” argued a panellist. But here we are, putting them on a pedestal for something that seems like natural talent. In addition to their awe-invoking performances, Xiupill are doing fascinating things with their music. Whether sampling Sigur Rós (“WE OUTSIDE”) in a strangely affectionate mash-up of two very distinct worlds or collaborating with hip-hop royalty Joey Christ (“WE OUTSIDE II”), Xiupill are not afraid of experimenting. “They belong in Best Live Act. They are massive,” stated a panellist confidently. 

“Xiupill is a band that — whatever your music preferences are — you need to see live,” said another. “Whether they’re playing for a full venue or a smaller audience, they give it their all and guarantee those who show up will get a proper show. That takes determination. Xiupill is an unstoppable force.” 

Runners-up:
Hasar
MC MYASNOI
Osme

You Should Have Heard This — Gárur by Jónbjörn

While electronica artist Jónbjörn might not be a household name among the general public, he’s certainly a known figure in the electronic music scene. Member of the influential Lagaffe Tales label — which some might argue is almost synonymous with Reykjavík nightlife — Jónbjörn has played many roles in musicmaking for over 10 years. However, his 2024 Gárur was something to write home about. Played out like a one-hour mixtape, each track blends seamlessly into another, incorporating elements of house, deep house and downtempo. The album even managed to change people’s firm opinions, swaying many of those on the fence about the genre. 

“I’m not a fan of house music, but this album caught my ear. It’s a very beautiful, melodic, to a large extent instrumental album, which creates cool atmospheres,” described a surprised panellist. “As a person that’s not deep in electronic music, I need a lot to be moved by an album of that kind. Gárur got me. Lush, ambitious, and personal in a weird way, you can hear that Jónbjörn has skin in the game,” said another. “Hypnotic beats, a mix of vocal samples and synthesiser lines from every direction come beautifully together in a delicious pudding,” they continued. 

“[Gárur] is an ambitious output after years of experimentation. Jónbjörn has been releasing electronic music prolifically for more than 10 years, but his more personal and melodic side shines on this album,” confirmed another panel member.

Runners-up:
Katla Yamagata — Postulín
Kött Grá Pjé & Fonetik Simbol — Dulræn Atferlismeðferð
Tonik Ensemble — Music Is Mass

Ones To Watch — Amor Vincit Omnia

Breaking onto the scene with the debut single “Amor Vincit Omnia” in early May, Amor Vincit Omnia repeatedly demonstrated they’re a force to be reckoned with. As one panel member put it, “I think they managed to burst onto the scene with intensity, suddenly appearing from nowhere, playing great — but weird — dance music.” Latin for ‘love conquers all’, Amor Vincit Omnia went from being a mere thought into a burgeoning dance act by the end of the year, warming up for the likes of CYBER and performing at Reykjavík institution Kaffibarinn. 

Releasing their EP brb babe later in the year, the band’s merits were finally validated. Working within the frame of dance music, this energetic duo borrows motifs from Eurodance — specifically Italian disco — hip-hop, and house. “The album came out of the blue and had me absolutely hooked,” remarked one panellist about the release. 

Reminiscent of FM Belfast — albeit with less stage antics and general silliness — Inspector Spacetime and the UK-based Jockstrap, Amor Vincit Omnia adds an exciting flavour for local music aficionados. “They showcase not only talent but versatility in terms of their artistry,” complimented one judge. “I think they could do a lot of interesting things in the future.”

With 2024 in the bag, Amor Vincit Omnia is one to look out for. 

Runners-up:
Flesh Machine
Jadzia
Knackered

Shout Out — Árni Matthíasson

Possibly Iceland’s first professional music journalist, Árni Matthíasson has never stopped caring — and talking — about Icelandic music. Through his various chairings of panels, such as Músíktilraunir and the Kraumur Music Awards, and his decades-running career of music reporting, the panel recognises Árni for his enduring passion and support for the Icelandic music scene.

More specifically, the panel wanted to highlight Árni’s 2024 RÚV radio programme Straumar which focused on the contemporary grassroots music landscape. “The show gives plenty of space for the music itself, but Árni also interviews his respondents thoroughly,” one panellist outlined. The panel also wanted to commend Árni’s knack for discovering new talent. 

“In many cases, he’s the first journalist to interview the artists who will be the next big thing. He was talking to Sigur Rós before anyone had even heard their name,” reasoned one judge. Despite having many years in the game, Árni still finds time and interest to experience fresh musical ideas. 

“He’s very open to new and underground music — and he’s very supportive of that scene. Whenever I see him, he’s advocating for the younger generation and up-and-coming artists — and he’s listened to,” said another. “He has a certain weight and it’s good to have that kind of person in that specific position.”

So, after years of doling out awards to countless musicians and releases, the panel found it was time to give Árni a prize of his own. 

Runners-up:
Ása Dýradóttir
Drif

Meet the 2025 panellists

Jóhannes Bjarki Bjarkason is the music editor at the Reykjavík Grapevine. Having been active as the frontman of the post-punk band Skoffín and within the post-dreifing art collective, Jóhannes has been passionate about the Icelandic music scene since he was a teenager. 

Agnes Hlynsdóttir is an Icelandic artist, promoter and event manager responsible for overseeing events at multiple venues in Reykjavík. In recent years, she has served as the general manager at LEMMY while also working as the events and culture manager at Iðnó. With a strong focus on the Icelandic music scene, Agnes founded the concert series Upptakarinn, providing a platform for emerging artists. She has also organised a music workshop for children and contributed to the promotion of several local music festivals. At Iðnó, her efforts have been dedicated to making the venue more accessible to a wider range of concerts and cultural events.

Alexander Le Sage de Fontenay is a graphic designer, writer and DJ with a deep passion for art, music and culture. He has worked across design, journalism, event planning, and broadcasting, hosting Bassaboxið on Rás 2 and writing for The Reykjavík Grapevine. His work explores visual identity, cultural branding, and printmaking, blending disciplines to create meaningful experiences in both design and music.

Júlía Aradóttir is a culture journalist at RÚV and a punk lifer playing in bands such as ROHT, D7Y, Kvöl and Ofvitarnir, organising shows and putting out records. In addition to being well-versed in the local DIY scene, she has spent most of her adult life working in the cultural sector, from the National Theater to the Symphony Orchestra. If it’s got anything to do with culture  — she’s into it.

Maria-Carmela Raso is a composer, vocalist, producer and event organiser, currently working on her MA in Composition at LHÍ. She has worked as a vocalist with the likes of The Element Choir, Kliður, Kjartan Hólm, Herdís Stefánsdóttir and Salka Valsdóttir. Maria-Carmela has produced and composed music for VR, audiovisual projects, immersive installations and is currently composing music alongside Sævar Jóhannsson for a short horror film written and directed by Katla Solnes. She is also the event manager at RVK Brewing Co. and oversees the weekly concert series Að standa á haus as well as other events happening on site.

Maria-Carmela, under the stage name MSEA, released the album Our Daily Apocalypse Walk in 2023 and was nominated for the Kraumur Awards, won the Grapevine Music Award for ‘You should have heard this’ and was selected as ‘Experimental pop album of the year’ by Vísir.

Pan Thorarensen is a musician, producer and event and festival organiser from Reykjavík, Iceland. Pan has composed music for short films and documentaries and released numerous albums under various stage names, one of them is the experimental-ambient trio Stereo Hypnosis, where he collaborates with his father, Óskar Thorarensen, and the composer Þorkell Atlason. Pan has long been a catalyst of electronic music in Iceland. 15 years ago, he founded and organised the annual electronic music festival Extreme Chill which has drawn both local and foreign electronic music enthusiasts into the amber embrace of Icelandic nature. Extreme Chill and the festival’s numerous sub-events have begotten multiple releases, concerts, friendships and collaborations between Icelandic and foreign musicians.