When I was a punk teenager, I rebelled because lots of people in Iceland think that foreigners are evil and that if you don't wear woolen hats and eat sheep, you're betraying your heritage.
My first album didn't come out until I was 27, which in pop years is late, you know. But when it came time to arrange it, I became a kid in a toy shop. I had a harp and a saxophone quartet and a symphony orchestra. I went berserk for a time.
Feminists bore me to death. I follow my instinct and if that supports young girls in any way, great. But I'd rather they saw it more as a lesson about following their own instincts rather than imitating somebody.
With a small town mentality, you make a decision very early on as to whether you are going to do everything by the book or just go your own way and not care.
In Reykjavik, Iceland, where I was born, you are in the middle of nature surrounded by mountains and ocean. But you are still in a capital in Europe. So I have never understood why I have to choose between nature or urban.
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. Most people's eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they'll understand the music.
Compared to America or Europe, God isn't a big part of our lives here. I don't know anyone here who goes to church when he's had a rough divorce or is going through depression. We go out into nature instead.
I have written most of my melodies walking and I feel it is definitely one of the most helpful ways of sewing all of the different things in your life together and seeing the whole picture.
