I mean, I’ve never been thinking that if you’re a fan you have to buy everything that somebody puts out. I mean, you’ve got a choice. If you don’t want it, just don’t buy it. It’s also a reaction to YouTube and sharing of files.
The reason I do photographs is to help people understand my music, so it’s very important that I am the same, emotionally, in the photographs as in the music.
I’m self-sufficient. I spend a lot of time on my own and I shut off quite easily. When I communicate, I communicate 900 per cent, then I shut off, which scares people sometimes.
People ask me questions like, “Oh, you look so theatrical in your photographs. Is that what you’re like when you walk down the street?” It’s like, “Of course not.” It’s such a silly question – it’s like being theatrical is a crime.
People from the rock and roll world have felt for years that electronic music had no soul, but now electronic music can not only have soul but have all the shapes in the world.
I’ve written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I’ll get someone who is good at writing scores to write it out. Or, if I have the luxury of time.
I think after Iceland’s independence in 1944, we were not very sure of ourselves and our confidence was really low. It took one generation to sort of get over that. I’m second generation.
Maybe that was a strange, personal job between me and myself, to show how overreaching I was being as a woman. The only way I could express that was by comparing it to the universe.
