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Photo credit: Gary Lornie
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Before a single note is heard, a band or artist is often judged by one thing alone: the name. A great name can spark curiosity, suggest a mood, hint at mythology, or create an entire world for the music to inhabit. From evocative band names like The Icicle Works to alter egos such as Ziggy Stardust, the act of naming has long been a creative statement in its own right.
Names as Atmosphere, Not Description
The most enduring names rarely describe the music directly. Instead, they create atmosphere. The Icicle Works, for example, doesn’t tell you what the band sounds like in any literal sense. There are no guitars, drums, or genres implied. What it does evoke is something colder, industrial, slightly surreal — an image that feels both poetic and unsettling.
The name was taken from a science-fiction short story, The Day the Icicle Works Closed, and that origin matters. By borrowing from speculative fiction, the band aligned itself with imagination and ambiguity rather than straightforward pop identity. This was particularly resonant in the early 1980s, when post-punk and alternative artists were actively rejecting obvious or functional band names in favor of something more abstract.
In this way, the name becomes a mood board. Listeners bring their own interpretations before ever pressing play.
Alter Egos and Myth-Making: Ziggy Stardust
If band names create worlds, alter egos allow artists to live inside them. Few examples are as influential as Ziggy Stardust, David Bowie’s androgynous, alien rock messiah of the early 1970s.
“Ziggy Stardust” is theatrical, futuristic, and deliberately artificial. It sounds like a character from a comic book or a sci-fi pulp novel — which is exactly the point. Bowie didn’t just name an album; he named a persona, complete with costume, narrative, and eventual death on stage.
Early artists often used such names to distance themselves from realism. Ziggy wasn’t David Jones from Bromley; he was something larger than life. The name freed Bowie creatively, allowing him to explore sexuality, fame, and identity without being trapped by his own biography. In this sense, the name functioned as a creative mask.
Why Early Artists Took Naming So Seriously
In earlier decades — particularly the late 1960s through the 1980s — artists understood that names carried long-term weight. There were fewer platforms, fewer releases, and less constant visibility. A name had to endure on record sleeves, radio playlists, and magazine pages.
As a result, artists gravitated toward:
These names invited curiosity. They didn’t explain themselves, and that mystery encouraged listeners to lean in.
Names as a Creative Boundary
A good name doesn’t just represent music — it shapes it. Once chosen, a name becomes a creative boundary that artists work within or push against. It subtly influences artwork, lyrics, stage presentation, and even how journalists and fans talk about the music.
For The Icicle Works, the name suggested emotional distance, intensity, and introspection — qualities reflected in their sound and lyrics. For Bowie, Ziggy Stardust became a narrative framework that defined an entire era of his career.
The Lasting Power of a Well-Chosen Name
Decades later, these names still resonate. They haven’t dated in the way more literal or gimmick-based names often do. That’s because they were never tied to a trend — they were tied to imagination.
In the end, selecting a band or artist name is not a marketing exercise so much as an act of storytelling. It’s the first lyric, the first image, the first invitation into a creative universe. When done well — as with The Icicle Works or Ziggy Stardust — the name becomes inseparable from the art itself.
ABOUT ICICLE WORKS
The Icicle Works formed in 1980 and became part of the UK’s early ’80s post-punk/new wave scene. They’re known for blending alternative rock with elements of psychedelic and post-punk sound.
Key Facts
Albums (Selected)
Band Name Note
The band’s name Icicle Works (often confused online as Icycle Works) comes from a 1960 science-fiction short story, The Day the Icicle Works Closed, by Frederik Pohl.
INTERVIEW WITH IAN MCNABB AND GUITAR THRILLS MAGAZINE
Guitar Thills: Hello Ian. Thank you for joining Guitar Thrills Magazine today. I am a HUGE fan of yours and owe much of my love for music to bands like The Icicle Works. There is nothing I enjoy more than listening and reflecting on the sounds and lyrics of a great song. I must draw upon a quote from your Auto Biography called Merseybeast “Since the age of twelve, music has been my religion. It was what I wanted. Its’s always there for me, I’m good at playing, writing, and singing it, and it never lets me down. While, I am not a writer of music, I can certainly appreciate those words. What contributed to your love of music?
Ian: I just love everything about it. It's the greatest art form and it never lets you down. It's the only thing that never lets you down.
Guitar Thrills: I thought about your reference to the British Music scene being continually, myopically, you-obsessed. That was back in the early eighties. Yet, nothing seems to have changed. Having a keen insight or awareness of music culture, why do you think that is? Does youth give evidence of talent and an appearance of longevity?
Ian: Pop music is primarily the property of youth, but it never leaves you. You have time off to have babies but once that's all done it calls you back.
Guitar Thrills: You mentioned that you have been lucky to travel the world and have people essentially pay to see you perform. Do you think you had the opportunity to reach your full potential as an artist? If not, why is that the case?
Ian: Yes
Guitar Thrills: Personally, you have achieved many artists hope for. Think of this mate, you have bridged the gap of music for so many people. Including me. I should have dug my way out of the seventies when disco started to become fascinating to most. I should have known that it was time to start looking forward. I should have followed the Ramones and Sex Pistols instead of vibing off Cheap Trick for so long. Don’t get me wrong they were talented. However, there is a time to move on. I think you had a purpose in mind, and that was to help music lovers to break free from the seventy’s music. Southern Rock was the theme of the day for many where I lived. Billy Squier was considered aggressive and outside the box. Congratulations on a successful career.
What do you mean by the phrase “Kill your own snakes”? If my mother were alive, she would probably be able to explain it. What does it mean, and how does it apply to your experiences?
Ian: Self-explanatory. You must slay your own demons no one can do it for you.
Guitar Thrills: You had an opportunity to collaborate with Ring Starr. What was that like? Also how did it add your abilities as an artist?
Ian: It was great fun. I only did two shows with him - the Red Cross ball in Monaco and a charity show for Kenney Jones at Cowdrey Park. I played bass and sing. I got to play Beatles songs with a Beatle. It didn't add anything to my abilities but it's something to be proud of.
Guitar Thrills: There is way more to this book that what I could mention here in this interview. Everyone who loves music should own this book. It is a excellent read, especially if someone desires insight into the life of an artist. What contributed to the idea of writing a book at this point in your life?
Ian: I just wanted to get it down before I forgot it all or something happened to me. There's a second volume I'm still working on.
Guitar Thrills: Do you plan on performing live shows, or is there an album in the works?
Ian: I have gigs that are booked. There is a new album on the way.
Guitar Thrills: It is apparent, that one of my favorite songs is “Birds Fly (Whisper to a scream)”. You are a poet, and it is obvious in your lyrics. What are some the thoughts or ideas that went into writing this song?
Ian: It's not really about anything but it conjures up a feeling of positivity and potency. We needed a hit and I provided one. That song changed everything for us.
Guitar Thrills: You have other songs that have made a huge impact internationally. What is one of your songs that really made a difference in your life? The one that put you over the top. Please explain.
Ian: Love Is A Wonderful Colour got us in the mainstream in the UK, but it was over as fast as it happened. That was a real shock. We thought everything we did from then on would chart. Boy how wrong we were. They bought the record not the band. We built up a great live following but just couldn't get another hit. Believe me we tried. It was a real slog.
Guitar Thrills: When you started writing music, did you ever get frustrated with timing? Did you ever wonder if you were going to make it in the music industry?
Ian: We were always frustrated. I've learned to live with it or I would have gone mad.
Guitar Thrills: Would you have done anything differently if you were given another shot back in the 80s? How about life in general. Are there any disappointments or changes you wish you could have made?
Ian: Hindsight is a wonderful thing. I have some theories as to why we never crossed over but nobody really knows. You can have it all but still the big time eludes you. The road is littered. It's a lottery. It's no different to gambling.
Guitar Thrills: I really do appreciate the time you have taken to answer our questions today. I am a huge fan and will continue to keep tabs your music career. I also would like to follow up with you later, as I have more questions regarding your auto biography. There are just way too many questions that I must address with you.
Ian: Thank you. Sounds great.
Conclusion
The naming of a band or artist is often the first and most enduring creative decision they make. Long before audiences hear the music, a name like The Icicle Works or Ziggy Stardust establishes a tone, sparks imagination, and suggests a world waiting to be explored. These names succeed because they resist literal explanation; instead, they invite interpretation, myth, and emotional association.
Early artists understood that a name could be more than a label — it could be a framework for creativity, a protective disguise, or a doorway into a larger narrative. Whether through abstract imagery or fully realized alter egos, thoughtful naming allowed musicians to transcend the ordinary and shape how their work was perceived across time.
In an era of constant visibility and rapid output, these examples serve as a reminder that restraint, mystery, and imagination still carry power. A well-chosen name does not just identify the music — it becomes part of its legacy.
