“What does it sound like? What does it smell like? What does it look like? How does it feel? I always ask myself these questions when I’m writing,” says singer and producer Nanna Øland Fabricius. “I think that Oh Land has a unique landscape all on its own. I strive to make the possibilities endless and to have all the senses collide in to a language on their own.”
Her multi-sensory approach to songwriting has been present from the beginning. Before Oh Land had a name, or even songs, she was a restless child on the outskirts of Copenhagen, where she wove together imaginary languages, characters, and magazines. Though she didn’t know it then, this sense of play would develop naturally into the skewed and rich aesthetic of Oh Land’s music and performance style.
She is the product of extremes. A disciplined ballet dancer who was educated with the Royal Danish and Royal Swedish Ballet schools coupled with a “circus-like” upbringing courtesy of a family of creative souls. Their unique and individual talents have left deep imprints on how Oh Land experiences and interprets the world around her.
Performance has always been a part of her personal expression as nurtured by the performances of those closest to her. Whether she was learning to see from a sister who designs clothing, to hear from her opera singer mother, or to touch from her church organist father; the mixture of this unique upbringing has contributed to the multi-faceted layers of an ever evolving Oh Land.
Oh Land’s music bears the fruit of this incredibly stimulating childhood. She has created a soundscape that dreams as hard as it dances. Her performance style confronts the audience with elements as sonically and visually diverse as drum pads, an omnichord, and a front projector system that broadcasts homemade visuals across balloons.
“I want my music to feel like 2050 meets something really classic, like meeting a stranger that feels as familiar as an old friend.” says Oh Land.