The Icelandic Sugarcubes Are About to Come in From Cold

We’ve had American Rock. . . .

British Rock. . . .

German Rock. . . .

And, even, Russian Rock.

But are you ready for Icelandic Rock?

The Sugarcubes are on the way.

The Iceland quintet, whose music is a pulse-stirring blend of modern art-rock and aggressive post-punk sensibilities, has yet to release a record in the United States, but its first two singles on One Little Indian Records are already causing a buzz with both critics and fans in England.

The Sugarcubes’ first single, “Birthday,” is among the four albums or singles considered in Disc Derby competition, a Calendar feature designed to separate special-merit works from routine-or-less releases. The works are by artists who have been receiving attention in England and are now stirring--or about to stir--interest here.

This month’s Disc Derby matchup:

Rick Astley--It’s hard to believe this singer is just 21. He exudes a soulful maturity on the “Never Gonna Give You Up” single that is reminiscent of savvy veteran Michael McDonald. The single went to No. 1 on the British charts last year and is currently streaking up the U.S. charts.

But Astley, the latest in a series of blue-eyed soul singers from England, runs into difficulty on much of his RCA debut album, “Whenever You Need Somebody.” The production team of Stock-Aitken-Waterman (whose past credits include Bananarama and Samantha Fox) wraps the album in a distressing coat of sparkling, but synthetic disco-accented pop. The album: NO.

Fields of the Nephilim--Does “spaghetti metal” sound appealing? Just in case no one recognizes the dusty, weather-beaten Clint Eastwood outfits the band wears in its publicity photos (an image dished up locally by the Unforgiven), a sticker on the cover of this RCA album pinpoints the group’s connection with Sergio Leone Westerns: “The Good, the Bad and the Nephilim” (the group’s name refers to a biblical race of giants or demigods).

The album starts well with an instrumental that conveys much of the tension and open-spaced tranquillity that composer Ennio Morricone brought to his Leone scores. Once Carl McCoy’s growly, overbearing vocals are added to the sound, however, things begin sounding awfully g-i-m-m-i-c-k-y. The songs, too, seem to disintegrate, leaving you with little more than a vacant howl on record. However, the group’s aggressive stance is interesting enough to make the Nephilim worth checking out live. They’ll be at the Roxy on Feb. 15. As for the album: NO.

Sinaed O’Connor--Even if you don’t remember hearing the music on MTV, you’ll probably probably recall O’Connor’s striking presence in her videos. She’s the young woman (just 21) with the shaved head. The music by this Irish native turns out to be equally bold on “The Lion and the Cobra,” her debut album from Chrysalis. There’s a hint in the best songs of both the ambition and individuality of Kate Bush as well as the occasional satirical modern vision of Laurie Anderson.

There’s an impatience and hunger in O’Connor’s sometimes wailing vocals and impassioned arrangements, the best moments of which signal the arrival of a major talent. She’s expected to begin her first U.S. tour next month. The album: YES.

The Sugarcubes--This quintet, whose approach has been described in British rock journals as “surrealistic pop,” is more accessible than the England’s Cocteau Twins and more radical than New York’s 10,000 Maniacs. Bjork, the lead singer (and only female in the band), sings with a sensual innocence and occasional primal bite.

While the English lyrics to “Birthday” form a fascinating puzzle about the sexual misadventures of a little girl, there is such an electric sense of musical and vocal dynamics at work that the track sounds just as intriguing on the flipside of the record when she sings in Icelandic.

The group’s latest single, “Cold Sweat,” starts off with a harsher and more conventional sound, almost a strange alliance with heavy metal. Gradually, however, Bjork’s vocal leads the band into a more sophisticated and multilayered soundscape--one as darkly alarming, yet supremely tantalizing as Velvet Underground. The singles: YES.

CABLE POP: Showtime’s “Coast to Coast” is evolving into the most satisfying concert series on television. The ambitious, free-form, 90-minute show, whose second installment debuts tonight at 9:30 p.m. on the pay-cable channel, darts across geographical boundaries (episodes range from West Hollywood to Tampa) and musical genres to create a richly absorbing glimpse of American mainstream and regional music.

The attractions include the supper club R & B stylings of Buster Poindexter (with guest singer Charles Brown), the spirit-lifting Cajun sounds of Beausoleil (with guest singer-guitarist Richard Thompson, who is also spotlighted in a solo stint), the melodic, roots-conscious rock of the BoDeans,, folk-oriented singer-songwriter Eliza Gilkyson and a jam session featuring Sting, keyboardist Herbie Hancock and saxophonist Branford Marsalis.

Produced and directed by Ken Ehrlich, “Coast to Coast” is also brightened by brief interview bites with some of the artists. The only clumsiness is host Herbie Hancock, whose manner and remarks are stiff.

LIVE ACTION: Pink Floyd will be at the Los Angeles Memorial Coliseum on April 15. Tickets go on sale next Saturday. . . . Besides her Universal Amphitheatre engagement Feb. 17 to 20, Linda Ronstadt will be at the Irvine Meadows Amphitheatre with her “Canciones de mi Padre” tour on March 20. Tickets available Sunday. . . . Midnight Oil headlines the Hollywood Palladium on March 9. Tickets go on sale Sunday. . . . Highway 101 and the Nitty Gritty Dirt Band will be at the Universal Amphitheatre on Feb. 25. . . . Jerry Lee Lewis will be at the Palace on Feb. 26.