At only 22-years-old Asgeir Trausti has already become part of a magical Icelandic folklore with his debut album Dýrð í dauðaþögn, becoming the fastest selling album in his home country. With the help of recent Icelandic ambassador John Grant (who recorded his latest album in those landscapes), Asgeir aims to get international acclaim.

 

The post-rock brass compositions that draw comparisons to compatriots Sigur Ros, Mum and Amiina still exist amongst the simplier folk tendencies but the lyrics have translated and adjusted by John Grant. However, without this knowledge it`s hard to tell as the Scandinavian makes it sound organically personal and natural pouring passionately out of his heartfelt, cherishable and controlled vocals. 

 

However, what makes the highly imaginative Asgeir extra special is his ability to create his own genre, dubbed by the media as "melodic folk", folk that has a melodic atmosphere. It only takes one viewing of his live performances (including allustrious set at Shepherds Bush Empire in November) to notice that although he embraces the acoustic guitar with slow steady drums and maintains a folk-natured voice, it`s occasionally partnered with a tweaking of analogue synthesizers and high frequency otherworldly noises. The perfect example of this is the born-to-be-a-classic Kings and Cross in which Asgeir`s voice switches from gentle masculinity to a stretched falsetto as the music marches positively from acoustic folk The Knife-esque synth pop in a moral boosting fashion. It`s a clever arrangement where electronics slowly prevail in dominating the raw materials.

 

The English version also contains other remarkable efforts mature in sound and substance that are likely to feature in camera or empathetic commercials (think Radical Face's "Welcome Home") including the melancholic The Shins` style of "Going Home" and the thought-provoking  semi-religious poetry of "Was There Nothing", a typical mindset for an Icelandic musician who can ponder the spacious and populous empty landscapes. Whilst opener "Higher" is one of many examples were the Icelander ultilizes vocal loops to create an imaginary backing band and "Head In The Snow" summarizes his ominipresent crescendo methodology with blips and marching drums that creates an ambitious warrior-fuelled mood that suggests that he is always heading towards something with bravery and courageous fortitude. Listeners able to purchase the deluxe version get treated to an phenomenal cover of Nirvana`s "Heart Shaped Box". Sharing a similar over-thinking personality to Kurt Cobain, Asgeir makes this song truly his own and by the time the electronics soar and whizz around the sonics, you forget that it`s even a re-working to begin with. 

 

With sensitive folk similarities to Jose Gonzalez, Bon Iver and Villagers , as well importantly British acts Ben Howard, Mumford and Sons and Nick Mulvey, he should be able to easily match their success and break the British waters and with his own originality a tool to possibly surpass them. MTH

 

Best songs: King and Cross, Heart Shaped Box (deluxe), Going Home