Sin Fang - Spaceland

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I've said it before, and I'll say it again: anything that comes out of Iceland is always magical. Whether it be the barren soundscapes of Sigur Rós or the haunting synths of Björk, there is something special that Icelandic artists find in the isolation of their country.

Sin Fang is the new contender on the block. His sound is something we don't normally see come out of Iceland - a fuller, pop sound. His fourth record Spaceland has him explore the beautiful pop soundscapes that still feel frosty just as the isolated pictures of Iceland paint.

Listening to the first song 'Candyland', it sounds like something you'd expect out of some underground electropop from New York. The dinky vocal synth intro paired with the scratchier synths lead into reverberating vocals that harmonize in a glitchy excellence, before the chorus brings in a splash of cool sound. It's a super chill and an all-around great pop track, but it doesn't quite scream "Iceland!" It progresses into a more hopeful composure, though, having that signature Icelandic power of being full of emotion but still having a certain emptiness at its core. That is what makes this album so great - it channels that perfectly.

This becomes clearer on the next track 'Not Ready For Your Love', which sees Sin Fang's melancholy lyrics beautiful sing above a deep synth with a strong beat. The whirling vocal synths in the bridge support Sin Fang's vocals in an enchanting way, like the souls of Iceland's stark nature are supporting the essence of the song. 'Lost Girls' shared the same melodic prowess, the song building less of the supporting details and more from its smooth vocals.

Most of the album succeeds from simply having raw beauty. The dark and brooding instrumental of 'Never Let Me Go' with Sóley's female voice harmonizing with Sin Fang's atop a dramatic and mystical composition. The choruses build stronger and stronger as a more driven beat continues to progress further, giving the song a stronger presence. There's something very mechanic in his voice, and that serves as a strong disposition to Iceland's essence. That very mechanic, almost empty-but-not-quite approach makes it feel that much closer to the isolation of his country.

The instrumentals do a lot of the talking on the album, as well. The huge waves of synths in 'I Want You To Know' that create the beautiful choruses lead into choir-esque synths in the verses, before whirring back into full force in a matter of seconds - blissful seconds. The best instrumental content has to be 'Snowblind', which has elements of dubstep beats interlocked within the beats, the huge bass hits sounding like black holes absorbing you into the somber messages, the lyrics appropriately chanting "the darkness became stars." The album concludes on an admittedly underwhelming note with 'Down', but it takes the album on a peaceful and somber note - respectfully quiet and not flashy, as if to give the album an respectable ending, not overrun by flashy production.

Sin Fang shows the essence of Iceland in a more approachable light, without sacrificing any of its beauty. There's something about Iceland that has a profound affect on the art that comes out of it - it's completely unique and beautiful, and it's incredible. Spaceland is as barren as Iceland is, but brings to life the exciting moments of its isolation in vivid scenery. Iceland, you're amazing. You are too, Sin Fang.