1. Vorlag
2. Sumarlag

The earlier part Haustlag/Vetrarlag or Fall Song / Winter Song came out in 2017. All of them were written in the season they are named after and include enviromental sounds from each. This was done in 2015-2016 starting in fall and ending in summer.

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1. Öllu skartað
2. Má ég gera núna?
3. Threnody for the Victims of Neuroleptic Malignant Syndrome
4. Leif mér að lifa
5. Börn og aðrir minna uplódaðir
6. Inside the Domain
7. Rubbing Alcohol
8. The Grief of the Bees

Skartamannafélagið is a collection of electronic pieces from 2017-2018. I wrapped them up in Videopool in Winnipeg Manitoba, Canada. It kind of takes up where my record Ölterta left off.

It was reviewed by Ed Pinsent for the Sound Projector and amongst other things he had the following to say about it: ” . . .Every piece on Skartamannafelagid is a triumph of this deeply integrated way of composing; layers pulling in different directions, astonishingly novel textures and sounds. We have something that appears to effortlessly bypass many conventions of form, melody and rhythm. . . “

I recently released the second half of the full cycle of my four seasons. Vorlag/Sumarlag or Spring song / Summer Song came out this summer.

“A mesmerising set; absolutely gorgeous music.”

Ed Pinsent for the Sound Projector January 12, 2020.

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In her liner notes, Dr. Margrét Elísabet Ólafsdóttir describes that due to low prices after the financial crass of 2008, artists poured into cheap housing in downtown Reykjavik, beginning an aesthetic era tainted by uncertainty, anger and high ideals.

During this era, a group of eccentrics fabulated an entirely new civilization spawned from experimental cultural practices. Within S.L.Á.T.U.R., this was most often embodied in musical––as well as sometimes in visual and somewhat theatrical––performances centering around animated notation and video scores, found objects, and home–made or heavily prepared instruments.

Whole new artistic languages evolved from these limited means, developed through an extreme frequency of events and constantly evolving collaborations. Building on these experiments, Guðmundur Steinn has forged an eccentric world of his own, continually polishing his taste for the unimposing and…  more

credits

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