Héraðsverk
A solo piano composition commissioned for EPTA Piano Competition for children younger than 14 years old.
Sixth track from Brotabrot album, built on inteviews with former inmates at The Icelandic Women’s Prison, housing both female and male people.
Fifth track from Brotabrot album, built on inteviews with former inmates at The Icelandic Women’s Prison, housing both female and male people.
Forth track from Brotabrot album, built on inteviews with former inmates at The Icelandic Women’s Prison, housing both female and male people.
Third track from Brotabrot album, built on inteviews with former inmates at The Icelandic Women’s Prison, housing both female and male people.
Second track from Brotabrot album, built on inteviews with former inmates at The Icelandic Women’s Prison, housing both female and male people.
First track from Brotabrot album, built on inteviews with former inmates at The Icelandic Women’s Prison, housing both female and male people.
Nineth track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Eigth track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Seventh track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Sixth track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Fifth track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Third track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Second track from Quite the Situation. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
First track from Quite the Situation album. The foundation for this work was articles written during WWII about Icelandic women’s relationship with the foreign soldiers.
Performance for electronics and drums, where they are processed in real-time into the electronic sound scape. Includes video.
Score to a documentary by Arndís Benediktsdóttir for Íþróttasamband fatlaðra, Sports Federation of the Disabled in Iceland.
Score to a short film by Sigmar Ingi Sigurgeirsson, a synthetic score about a trouble Icelandic teen and his relationship with his younger brother.
Score to a short film by Haraldur Bjarni Óskarsson. The dark score is performed by a violin, cello, and voice over an electronic foundation.
Score to a short film by director Shane Watson. The film was nominated to the students Oscar’s and is about a black, gay man facing challenges while living in the Bay Area.
A podcast show, an interview with Marcus Adams, an inmate on death row. It is about the wait for death on California’s death row.
Dance short film by choregrapher Arndís Benediktsdóttir where she challenges which movements can be considered “a dance”.
Dance short film by choregrapher Elísabet Birta Sveinsdóttir. The film is inspired by Arnold Bröclin’s painting, The Sacrid Woods, 1882.
Music to a dance performance by choreographer Yang Yang. Yang Yang was frequently inspired by chinese movements, costumes and folk dances.
Music to a dance performance by choreographer Yang Yang. Collaboration with Sophia Shen where we both create the music and a video.
Very old musical composition that I do not have much to say about, but I want to fill in this box so it is the same size as the rest of the boxes.
Electronic piece built on interviews with children from a popular 90s talk show program called Á tali hjá Hemma Gunn.
Very old musical composition that I do not have much to say about, but I want to fill in this box so it is the same size as the rest of the boxes.
A children’s piece about the happy calv Fjörkálfur and a pig that steals the Northern Lights, Hrekkjusvín. A collaboration with author Anna Marsíbil Clausen.
Written with real-time notation where led lights control the percussive part but the double bass player is performing a score written in Pure Data Coding software.
Brass octate inspired by an Icelandic folk song called Sá ég einn í svartri brók which translates to “I saw one in black underwear”.
The audience walk through an invisible guitar, triggering guitar sounds. If more people interact with the invisable strings different samples are triggered.
The left hand is always the same but the notation for the right hand is constantly changing, making it so hard that it’s impossible to perform “correctly”.
The violin is recorded in real time and the sound is manipulated to create a sound scape. After the performance the piece was distroyed.
The Radio Story is played in the speaker system but it is also the instructional notation for the piano player. A play with text and instructionbased notation system.
An electronic piece coded with SuperCollider software, an environment and programming language for real-time audio synthesis and algorithmic composition.
An electronic piece performed on an Moog IIIp synthesizer and recorded on an Adat Tape Machine, where every sound is carefully sculptured.
Blond Beauty is an electronic music and video piece. The piece builts on found footage and music samples from the 60s.
A 30 minutes performance to Kim Anno’s video piece, focused on the fragility of nature and in part drawing from Rachel Carson’s book, Silent Spring.
Inspired by the concept of cosmic accleration.The concept is considered one of the most significant unsolved mysteries in astrophisics.
Challanging the traditional notation systems. Writing in traditional notation for a typewriter and then text score for traditional instruments.
Found WWII love letters from a thrift store as a foundation for her text, which I then used as inspiration for the musical composition.
Just one of those things that you bite into, some like and others prefer something different. Either way, we will all experience the same sugar rush.
The piece is written with animated notation, where the white circling notation video becomes a part of the visual musical piece.
First single release from my album Thoughts Midsentence. It is, in fact, this it the first time I sing on one of my own tracks.
Transforming an old, upright piano into a new self-playble instrumend and simultaneously a music composition based on data about earthquakes in Mt. Bárðabunga.
Reflecting is a series of pieces from my visits to fortune tellers. It derives its meaning from its audience, and what each individual believes or doesn’t belive.
The beauty of nature is represented by the sound of a piano playing a melodic composition, in contrast with the visual representation of an ever-growing threat. Single.
The beauty of nature is represented by the sound of a piano playing a melodic composition, in contrast with the visual representation of an ever-growing threat. Installation.
Artwork composed of three elements – a bookwork, an album release, and an installation. Folding into one another, creating a three-dimensional story. Album Release.
Artwork composed of three elements – a bookwork, an album release, and an installation. Folding into one another, creating a three-dimensional story. Installation.
Inmates stories intertwined with music asking questions about the relationship between imprisonment and entertainment. Album Release.
Inmates stories intertwined with music asking questions about the relationship between imprisonment and entertainment. Installation.
