I think it took me until - my twenties were really a time of exploration and experimentation with different groups and different types of music. Then I kind of developed the sound, which first appeared, I guess, on my first solo album 'Englaborn,' which came out in 2001.
I'm far from casual. I'm a huge fan of 'Blade Runner.'
The idea that things should last just doesn't fit the economic model anymore.
It's very common in Iceland, this music-making and artistic expression by non-professionals. The brass band tradition is not as big, but there are choirs everywhere. So that's something that is familiar to me.
I love old industrial imagery and smokestacks belching pollution, maybe because Iceland doesn't have any industry, just mountains and beautiful nature.
The kind of industrial wasteland that you see in so much of Europe has a tremendous poignancy to me, especially when it's run down and you see the collapse and failure of this system. And also how nature reclaims it.
A lot of my music tends to combine electronics and orchestra.
I love 'Treasure.' It's one of my favourite albums.
Pan Sonic sound like they are playing music of the future made with the electric instruments of yesterday.
In my solo work on my own albums, I have used voice synthesizers and vocoders quite a lot in connection with orchestral instruments.
I'm very interested in voice synthesis and vocoders in general.
I don't really take vacations.
To be honest, I don't particularly see myself as an Icelandic artist. I'm a European artist.
I'm a huge fan of Philip K. Dick.
I don't want to make light of the importance of my musical upbringing, as you cannot avoid being influenced by the area you grow up, but I will say that Reykjavik's geography is very different from, say, New York, Paris, or Copenhagen. There's big skies. The buildings are low. The landscape is spread out.
I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.
There's very little synthesized sound in the 'Arrival' score. There are a couple of synthesized beats in there, but 99 percent of the sounds in there are acoustic in origin and either played or sung by a musician or a singer and recorded in a room.
I think that the essence of being an artist is to break rules. You have to learn rules, and you have to break them, because if you make art only by the rules, then you make very boring art.
I think there's very little interesting in art that is not transgressive in some way. And I don't think that's a very revolutionary thing to say.
I am not very extreme in my life. But I'm very attracted to art that works with extremes and works with limits, that transgresses limits and transcends limits and crosses borders and has a certain boldness.
