Icelandic indie folk-pop troubadour returns with his new EP, Fleeing the Shore. His first new body of work since 2024’s full-length Away From This Dream, it’s a tender, folky hug of a record; the perfect remedy to the cold, harsh climate in which it was created.
The opening track, Another Year, is a delicate, yearning piece centred on an assortment of acoustic instruments and their relationship. With a musicality about it that recalls acts as varied as Ryan Adams, SloNewsLife, Damien Rice and The Decemberists, it’s a real amalgamation of influences. With tender warmth and endearing honesty,, it explores themes of anxiety and introspection lyrically while, at the same time, feeling quite buoyant musically.
As an opener,, it sets the tone perfectly, establishing a distinct sonic palette and tone of voice that are prevalent throughout the rest of the EP.
The title track is up next and, in its intimacy and classic sensibility, is reminiscent of fellow Nordic songwriter Loney Dear. Starting relatively small but developing over time, it grows organically and gently. Dominated by the sound of what we think is a cello, it has a deep,, dark texture at the outset that eventually gives way to lighter, fresher tones. Again, seemingly rooted in stark self-awareness, Axel asks himself questions throughout, wondering aloud about decisions he’s made and is yet to make.
Nowhere is next, and it adopts a slower pace than the songs that have preceded it thus far. Again, bringing to mind the work of Damien Rice (maybe with a bit of Bon Iver mixed in somewhere?), it has a grandeur and a grace that are rather uncommon in the singer-songwriter genre. Unpretentious and pure, it is earnest and lovable.
Fourth track Over One Night is a pensive, meditative piece that takes its time and blossoms slowly. Clearly very considered, the tapestry of sound feels intricate yet spacious. Like the respective components are exactly where they need to be and at just the right times.
Reassurance is reminiscent of Irish troubadour Fionn Regan. Specifically, the sound of his fantastic debut album End Of, History. The musicality, phrasing, cadence and melodies all remind us of one of our favourite records of all time. The pace of it is glacial and gorgeous, and it ensnares from the opening seconds to the closing notes. The backing vocals are very Justin Vernon, and the whole thing comes together beautifully, like a watercolour painting, one part blending into the other to create a harmonious combination of texture, tone and feeling.
Closer In The Grass keeps the tone of the prior song going but relies heavily on gentle piano keys and ambient background sounds. It’s a winning combination that countless artists have utilised many times before. Still, we struggle to think of an instance in recent memory where it has been incorporated as successfully, crafting a whole environment and musical ecosystem from the sparsest of components.
Fleeing the Shore is the first collection of songs Axel has fully produced by himself at his Húsavík home studio. He tells us that he wanted the songs to reflect where they were recorded. It’s a space that is very much not optimised for recording in. There is not a vast selection of the most desirable microphones in the world, and it doesn’t have the greatest room sound, but what it does have is character in abundance. The sound of the album is just the sound of instruments being played in a house, no, a home. And that’s what Fleeing the Shore is. Home, warts and all.
Written by Kinda Grizzly
