The making of my debut album Klámstjarna was about exploring how deep I could write and reflect on myself, and express these reflections in music. It was recorded in Iceland in a small studio in Reykjavík, where I spent most nights alone working on it alongside working on the album Hrjúft Silki with my band SAMA-SEM. Looking back, Klámstjarna was really an experimental album personally. The diverse soundscapes and crossing genres tell the story of the molding of what would then become dady.



Hrjúft Silki by SAMA-SEM is written and produced by dady & bngrboy. Although most of the production was in the hands of bngrboy & the lyrics were mostly written by dady, but we didn't exclude those tasks from one another. The album was mostly made in various cabins in Iceland. We found that working in isolation gave us more space & time to really communicate to each other how we saw tracks come together. The nature and isolation created a safe space for vulnerability which can really be heard through different sounds & lyrics on this piece.



Songs 4 Crying by KARÍTAS was written by her (Karítas) and produced by me (dady). We recorded this album in Reykjavík and Copenhagen (where I reside now). We found the best method for this album was to create on the spot and lead each song in a direction we saw it going together. I noticed a lot of hidden confusion and anger in the vulnerable writing and tried to convey that in the soundscapes I generated. There is no "one" feeling in the songs of this album.

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Up until Hvítir Hrafnar, dady's albums have been mainly focused on different angles of love. On Hvítir Hrafnar dady ventures from two angles into his regrets of the past and how they were processed emotionally, with no filter. This is mixed with the perspective; why don't people talk about this more, am I the only one?. The soundscapes of each track try to communicate the underlying feelings in a more simple way; anger, loneliness, masked happiness, & more.





This song defined and shed a light on a path which dady is known for today. Before Ástralía, I tried different genres, creative writing, and perspectives to truly find myself musically. I had never expressed personal feelings before Ástralía. I was under the illusion that I had to make music that people would like to get the plays I wanted. When I made Ástralía, I didn't even think about other people or plays. It was the first song that I truly made for myself, raw emotions & personal, a song that I made for myself to listen to, and nobody else. Little did I know that this would become one of my most popular songs.

​Ástralía showed me that making music is like being in a plane that is crashing. Put the mask on yourself before anybody else.