02331nas a2200205   4500000000100000000000100001008004100002653001200043653002600055653001400081653001000095100001300105700001400118245012300132856014300255300001200398490000700410520169500417022001302112                                       d10aIceland10ageographical research10aLandscape10aMusic1 aF. Tweed1 aA. Watson00aThe screams all sound the same: The music of Of Monsters and Men and the Icelandic imaginary as geographical discourse  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85043690047&doi=10.1111%2farea.12422&partnerID=40&md5=b66c734fb3ebe902d7b8c82822def0e6  a126-1330 v513 aOver the last two decades, a substantial body of geographical research has emerged examining the mutually generative relations between music, space, place, landscape, identity and locality. This work has revealed the complex ways in which specific geographical identities and imaginaries can be reinforced and created through differences in sound, through lyrics, and through the acts and meanings of making music. Yet, these identities and imaginaries can also perform important economic functions, representing geographical discourses that musicians can employ to develop distinctiveness to make themselves marketable, particularly in the context of a heavily-saturated contemporary global music market. In this paper, we examine this with specific relation to the Icelandic band, Of Monsters and Men. We provide an account of how references to landscape and folklore in the band s music, lyrics and imagery represent not only expressions of intimate connections with local landscape, cultural identity and lived experience, but also embody awareness of a pre-existing Icelandic imaginary. The use of folk music instruments, cultural references and motifs, we argue, acts to legitimise the band s use of this imaginary. Further, we highlight explicit attempts to brand Icelandic music under a single “label” as representative of the way in which this Icelandic imaginary comes to represent a powerful, if potentially homogenising, geographical discourse to mark out Icelandic music in a crowded global music market. The information, practices and views in this article are those of the author(s) and do not necessarily reflect the opinion of the Royal Geographical Society (with IBG).  a00040894