Of Monsters and Men (OMAM) went from Reykjavík to the global stage with their breakout 2011 debut My Head Is an Animal, propelling them into international recognition with the hit single “Little Talks,” a defining anthem for a generation that has since surpassed 1 billion Spotify streams.
The band has been on a break from OMAM-related projects since 2022, with members exploring solo ventures and creative pursuits outside the group. Now, reunited and re-energised, they return with their new album All Is Love and Pain in the Mouse Parade (out October 17, 2025).
Currently deep into a massive tour spanning the UK, US, and Europe – one that stretches well into 2026 – The Rockpit caught up with Ragnar “Raggi” Þórhallsson to talk about the band’s evolution, the spark behind the new record, and the emotional heart that runs through this latest chapter.
The Rockpit: It’s been quite a journey since your last major release. How does it feel to be stepping back into the spotlight after a few quiet years away from the public eye?
Raggi: It feels exciting but we’re not quite the types to seak the spotlight so it takes some time to mentally switch gears. It does feel amazing to share new music with our fans.
The Rockpit: Looking back on the band’s evolution, from that early burst with My Head Is an Animal to where you are now, how do you think time and experience have shaped how you work together and see yourselves as artists?
Raggi: You learn something new about yourself and each other with each album. I feel like the band is in a very good place now with our collaboration and connection. I think a lot of it comes also with breaking the “band bubble” and having other responsibililtes and passions outside of the band – other projects, families, creative outlets. I think that adds a layer of experience to each of us that we can then bring to our collabaration
The Rockpit: You’ve spent a lot of your creative life surrounded by Iceland’s unique atmosphere – that blend of isolation, beauty, and raw nature. How has that environment seeped into your music this time around, if at all?
Raggi: Everything connects in one way or another, Just the colour palate of Icelandic nature shapes me as a person. It’s dark muted colours bleed into everything I create. I think it’s kind of a subconcious thing. You just kind of become what is arround you and therefore what ever comes from you has a little of that in it.
The Rockpit: When you finally decided it was time for a new record, what was the spark? Was there a particular song, idea, or even a feeling that said, “Okay, this is the start of something again”?
Raggi: I think we just waited until we were all genuinely excited and inspired to make another record. Everything kind of clicked when we started working on Television Love — that was a big spark for us and for this album. It really paved the way for the rest of the songs and set us on a path we were so excited to follow.
The Rockpit: The new album, All Is Love and Pain in the Mouse Parade, has such an evocative title. What drew you to that phrase – and what does this “parade” of love and pain mean to you personally?
Raggi: The parade is us — our lives, the people around us, our community, and the generations that came before us. As we were writing, we noticed a lot of the lyrics connected; there’s kind of a sub-plot running through the album. It’s mostly about accepting that love and pain are deeply intertwined — it’s hard to experience one without the other. This album explores that gray area in between those two strong emotions we all know so well.
The Rockpit: There’s a clear emotional thread running through the record, especially in songs like “Ordinary Creature” and “Dream Team.” Were these stories drawn from shared band experiences, or do they reflect more individual journeys within the group?
Raggi: They reflect more individual journey’s but saying that – we’re a really close-knit group, so we all end up influencing each other’s personal paths.
The Rockpit: Two tracks, “Dream Team” and “The Towering Skyscraper at the End of the Road”, were released together to highlight contrasting sides of the album’s story. How did you decide to pair them like that, and what does each represent for you?
Raggi: We always felt like those two songs were kind of like siblings on the record — they’ve got this shared DNA, but totally different personalities. They really stuck together through the recording process, kind of like how siblings can be so alike in some ways but completely opposite in others. Dream Team is definitely the more extroverted one — it’s raw and open with its emotions — while The Towering Skyscraper at the End of the Road feels more introverted and reflective.
The Rockpit: Sonically, the album feels both expansive and intimate. There’s less of the bombastic folk-rock energy of your earlier work, and more atmosphere, reflection, and texture. Was that shift deliberate, or something that unfolded naturally in the studio?
Raggi: It was deliberate in many ways, but also just a byproduct of how we’ve grown as musicians over the years. We set out to create something that really connected with us — something that felt fun to play together, too. We wanted the quieter moments to shine just as much as the loud ones. A big part of how this record sounds comes down to our close collaborator and friend, Bjarni Þór Jensson. He recorded the whole album with us and helped shape the songs sonically from start to finish. And a big shoutout to Josh Kaufman as well — he lent his talents to Fruit Bat and The Actor, bringing a certain vulnerability and ease to the instrumentation that really inspired us.
The Rockpit: You produced much of the album yourselves in your Reykjavik studio. How did taking control of the creative reins shape the final sound – and what did you learn about yourselves as producers this time around?
Raggi: It resulted in a sound that’s very unapologetically us. We left a lot of things raw — we weren’t chasing perfection in any sense, just a feeling. I think we learned not to force things — ideas, songs — if it’s not their time yet. Everything finds its moment in the end.
The Rockpit: Of Monsters and Men have always had a strong live presence. How do these new songs translate to the stage? Are there moments you’re particularly excited (or nervous) to share with audiences on tour?
Raggi: We’ve now begun our North American tour, and it’s been amazing getting to play these songs live. I’d say they’re a little more introspective than some of our older ones, but they still full of energy and they feel really inspiring to perform. Styrofoam Cathedral is really connecting with me in our set right now. It’s just such a fun song to play live.
The Rockpit: Finally, for fans new & old what can they expect from this new chapter of Of Monsters and Men? How would you describe the spirit of the band right now?
Raggi: Spirits are high at the moment! We’re excited to be touring again and can’t wait to play our new album to as many people as possible.
The Rockpit: You can invite 3 musicians dead or alive to join you for dinner. Who would you invite? It would depend on the food I think but probably
Raggi: John Prine, George Harrison and Damon Albarn
The Rockpit: If you could be credited with writing any song ever written, what song would you choose?
Raggi: Tender by Blur
