That just wasn’t something you would consider. “She has a beautiful voice, but she never even thought of becoming a professional singer. “My mum would sing in choirs and around the house,” she explains. Nothing was more inspiring, however, than her own family. People would often get together to share stories and play traditional folk music. With a population of around 400, community gatherings were a key part of her early life. Visual artists from the Faroe Islands tend to be very abstract, creating these dark and melancholic paintings.”Įivør grew up in Syðrugøta, a tiny village at the top of the island chain, facing the North Atlantic. There’s a certain emotion that comes out. I’ve always been fascinated by strong contrasts, which is very much in the Faroese landscape, filled with light and dark. It’s something that becomes part of your inner world. And that’s very much in the landscape of the place I come from. “I feel like I’m looking for something within me, a sound or a certain mood.

“I see it as the core of everything I do, in a way,” she offers. The unique terrain and inconstant climate find expression in the sensory shifts and tones of her work. It’s somewhere she returns to on a regular basis, for a month at a time. She may be speaking to Prog from her current home in Copenhagen, but the Faroe Islands are never far from her thoughts. Songs like Stirdur Saknur and Gullspunnin are pointing very much both ways.”įor Eivør, music and landscape are forever intertwined. “I wanted to connect with my folky side, but also go all the way with the electronic side of things. “I wanted to do it differently this time,” she says. Partly guided by her producer/composer husband Tróndur Bogason, Eivør has never sounded so expansive. It’s a rich and thoughtful abstraction of billowy prog folk and moody electronica, mostly shaped by strings, piano and synths, kicked along by programmed beats and trip hop rhythms. This newfound freedom is reflected in Segl’s music. All of these things really affected the sound of the album and the topics of the songs, which became so much about change. I threw myself into doing a lot more collaborations with different people around the world as well. I changed my management three times over the last four years and I’ve also been very busy writing music for TV shows and video games. “There were so many things that got in the way and I had to stop many times,” she recalls. Eivør started working on the album four years ago, but was forced to navigate various obstacles that threatened to halt her progress.

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