Constructed Weather (2017) were created based on field recordings made in different locations around Iceland.
In these sounds you can sense the power of nature in a kind of imbalance or syncopation. I explore the interplay between what I see as human, organic, and artificial constructions of our environments. The sounds are threatening, vibrating, and alarming; at the same time, they capture nature’s great reserves of power. In the sound track “Windcall,” I imagine winds—both light and hard winds, winds through cracks of doorcracks and wind across open fields. You never hear the wind whispering in the trees on Iceland; there are only raw gusts pounding through the flat landscape and dancing among the buildings and the mountains. In “Windcall,” the winds communicate with one another in a symphony. In many of the tracks I work with muted tones, with extremely slow changes, where I imagine I’m painting an electronic landscape painting, a broad, sweeping perspective where I want to capturethe rawness in every composition, either completely untouched or manipulated to the furthest extreme.