Some call them techno wizards. I call them maestros of sound. Their music is beautiful, deep, and emotional – an intricate soundscape crafted with mastery. They are true pioneers in creating electronic atmospheres that resonate on a profound level.
On February 28, Kiasmos will take the stage at Prague’s SaSaZu. This duo captures both the delicate beauty and raw power of the Icelandic landscape, blending the fragility of classical music with timeless dance beats. Ólafur Arnalds and Janus Rasmussen have built a musical world where minimalist electronica finds its essence in nature, delivering deeply emotional experiences. With their new album II, Kiasmos will bring a live show full of Nordic moods and hypnotic rhythms to Prague for the opening concert of the twelfth annual Spectaculare Festival.
I’ll never forget the first time I tried to see them live. It was after they released their debut album Kiasmos. At the time, I was living in Toronto, and my friend Tomáš “Fly” Ondráček and I wanted to catch their show. We bought tickets in advance – the show was sold out, so we were lucky to get them. But we arrived late, the concert was already finished, and we had completely missed it. So when Dan from the Spectaculare Festival asked if I’d be interested in interviewing them this time, I knew I couldn’t miss my chance again.
Now, let’s dive in!
Kouzelná: Let’s start with the most predictable question you must get in every interview. If you had to guess, how many times have you been asked about the beauty of Icelandic nature and its influence on your music? And do you still enjoy answering it?
OA: A wild guess.. 500 interviews? At some point I started bullshitting people about elves but nowadays I enjoy the challenge of trying to find an interesting answer to it.
Your new album, Kiasmos II, has been described as both cinematic and deeply emotional. How do you see it compared to your debut? Were there any unexpected challenges or surprises during its creation?
JR: Compared to the debut, it was a much bigger and longer production timewise. We were surprised by just how hard it can be to make your sophomore album. There weren’t any expectations with our debut, so the whole thing came together quite easily. But in the end we’re very happy that we took our time with this one.
The Silent Radio review highlights how the album feels “both familiar and evolved.” Was there a conscious effort to push your sound in a new direction, or did it happen naturally?
ÓA: To me repetition is the antithesis of the creative process, we must evolve for it to be worth doing at all. The fun part is to try to evolve it in a way that still sticks to our identity as a duo.
In past interviews, you’ve mentioned that there’s no place for ego in your creative process. How do you manage disagreements in the studio, and has your collaborative dynamic changed over the years?
JR: We both have a fair amount of experience as producers now, and we are quite good at resolving and avoiding conflicts. I think we both care mainly about one thing: making sure the music is as good as it can be.
Janus, you come from a background of playing in a metal band, and now you create this hypnotic, atmospheric electronic music. Do you ever miss the energy of playing in a band setting? And do you think there are any hidden connections between metal and the music of Kiasmos?
JR: I believe we all miss being in bands to some degree. There are not many of them left these days. However, managing a band of people can be complicated, difficult, and costly, so I do not miss that aspect of it. Interestingly, there is a hidden connection between metal and electronic music today. Both genres are predominantly created on the computer now. Most metal producers work from home, programming drums and crafting riffs, which they then send to their bands, and everyone rehearses individually.
Ólafur, your work often blends classical elements with modern production. How does your experience working with orchestras influence your approach to Kiasmos? Do you find similarities in the way you compose for classical projects versus electronic ones?
ÓA: It’s all the same thing essentially, just different timbres, different emotions. But the approach is very similar. Sure there are certain rules that you need to follow for certain instruments to sound good that don’t apply to electronic instruments, but these stay kind of in the back of my head.
Your musical journeys are so different – one from metal, the other from orchestral compositions. Do you think these contrasting backgrounds give Kiasmos a unique creative tension? Are there ever moments where your influences clash in the studio?
JR: Well, Ólafur also hails from the hardcore punk scene. Therefore, in many respects, we don’t come from musical backgrounds that are all that different. We simply ventured into different genres professionally later in our careers. I went into electronic and pop, while Óli explored more classical territory. So, in many ways, we’re on the same page when it comes to writing music. But of course, there will be times when our musical tastes diverge. But that’s definitely a good thing. That’s where the magic occurs, so to speak.
Since this interview is for rave.cz, I have to ask – what does the word “rave” mean to you? Do you see yourselves as part of the rave culture, or do you feel your music fits somewhere else?
ÓA: To me the word rave refers to something very uninhibited, a pure freedom of expression. I wonder if our way of expression is too tame for it to fully fit into that term.
Your studio work is so delicate and textured, while your live performances have a more club-oriented energy. How do you approach translating your sound for a live audience?
JR: After spending so much time in our studio writing the music, we want to give it a new life in the live shows. I believe this is where our backgrounds in metal and hardcore bands might show themselves. We like the tension and the emotion that a live setting can evoke, and we’ve always wanted that for our performances. We want to showcase the other side of the music, which is slightly heavier and more danceable. Also, you have lights and a colossal sound system to show people another story of the music. Invite them on a little rollercoaster of a show.
You’re coming to Prague for Spectaculare Festival. Do you tailor your sets depending on the location or festival, or do you stick to a core sound no matter where you play?
ÓA: We are trying to bring people with us on a journey and the approach to that has to change depending on whether people have already been brought on a journey by 10 other artists or whether they just showed up.
Seven months ago, you did a Reddit AMA with your fans. Who came up with that idea, and how was the experience? Were there any fan questions that really surprised or stuck with you?
JR: We have done this before with our own projects, so we have a general idea of what to expect. But what people wish to know is always surprising. We are always very pleased to answer any nerdy gear or production questions, as that’s not a topic we often get the chance to discuss. A surprising question is always about what clothes we are wearing.
I’m based in Sydney, and I saw you mentioned that Melbourne is one of your favourite places. When can we expect you to make a trip back to Australia? And what is it about Melbourne that you love?
ÓA: I heard someone say that if Melbourne had Sydney’s harbour it would be the perfect city. There is a liveliness to it, great museums, great food and the people are friendly. It feels real. We hope to be back there this year!
What’s next for Kiasmos? Can fans expect new releases, collaborations, or any surprises in 2025?
JR: We have several plans for the year but don’t wish to spoil any surprises just yet. However, we’re really excited about what’s to come.
If you’re planning to see Kiasmos, a few final tickets are still available – but don’t wait too long! This will be their biggest club show in the Czech Republic, and you won’t want to miss it.