“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.
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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.
“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.
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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.
show less
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The Independent
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