While the alias is brand new, Kiasmos' key players, Ólafur Arnalds and Janus Rasmussen, are fairly longstanding members from Iceland's electronic scene. This self-titled eight-track debut released by Erased Tapes might well be the most experimental thing either has put his name to yet. The pair met in 2007 during Bloodgroup's debut album tour around Iceland where Arnalds was their sound technician at the time, and after a brief chat they discovered a mutual love for electronic and club music. Up until now they've been making music together as a hobby, but decided to dedicate 2014 toward defining that sweet little spot crammed right in-between Arnald's classical solo work and Rasmussen's electro synth-pop.

"Kiasmos," the trendier spelling for the word "Chiasmus," which refers to the grammatical term for opposites contrasted within a sentence, an example (for music sake) think Snoop Dogg's "with my mind on my money and my money on my mind." The pair felt it fit because of the opposites they have in their own music now coming together in one-collaboration. But, it isn't "classical synth-pop," it's a quick drive down the pathways those two genres cemented straight into new territory. "Not everything has some grand idea behind it," says BAFTA-winning multi instrumentalist Arnalds, "this project is just two people having fun and figuring out new things in music. The only grand idea is that we want to learn something."

The three of us hopped onto Skype and discussed their collaboration, Lou Reed, and the silly perceptions the world can't seem to shake about Iceland.

Do you think the art of experimentation is something you can learn, or just something that comes naturally? You have to have some sort of confidence to be able to experiment.

ÓA: It's a learned ability in a way, both the confidence and also knowing how to react to your own creative process. When you experiment and you discover something new how do you react to that, what do you do with it?

JR: Also be prepared to be ready to hear when something is working, because sometimes you overlook things and there might be something interesting going on there.

Absolutely, and during your recent BAFTA speech Ólafur you said that the only rule you had was to not make too many revisions and do what's in your heart

ÓA: That's the hard part, you don't ever know. I can still listen to the album and hear a song and think of changing or adding things.

A lot of the songs house different tempos and evoke certain feelings through instrumentals. Janus, I know you sing on Bloodgroup so was it ever a consideration to put vocals into this project?

JR: In my head I was humming something, but no we did it once and we didn't like it.

ÓA: I'm sure there's a lot of space to enjoy more melody, but that melody can just as well be played on an instrument. The vocal is an instrument it's not really different except that you can add words. Usually when I think of a lead melody on top of a song I don't jump directly to a vocal.

Did you find there were certain sounds that you wanted to push with this project? Some of the string arrangements are really beautiful and stood out, particularly on the track 'Thrown'.

ÓA: Each instrument has a character, and a colour that you can add onto a song - music is kind of like drawing a picture and deciding what colour you want to use. You can't really explain the reason you like that colour in that spot but you just know it fits and that's how intuition and art work, there aren't reasons behind everything you just get a feeling for what it needs.

I read on Facebook that you sneakily decided to change the spelling of the word "Chiasmus" for your band name?

[Both Laugh]

ÓA: The word actually means contrasts, well it means opposites within a sentence, it's a grammatical term for opposites and we felt it was fitting because of the opposites we have in our music, the electronic and the acoustic elements.

Ha! Lewis Carol used it in Alice in Wonderland didn't he, when he wrote, "I mean what I say, and I say what I mean". Do you ever find naming projects an easy thing to do?

JR: We're really lazy with naming our songs and never even did it until the end.

ÓA: It would be stupid to let the name of the project dictate what we do and work within that kind of restraint.

I mean, unless you're referring to composition, someone like Lou Reed used to limit himself to three chords thinking that this method produced better results.

ÓA: Totally. When you give yourselves a limit like that it really does make sense. With us when we're in the studio we do as well. It forces you to go further in discovering new ways of using those three chords so in a way it can induce a lot more creativity.

It seems classical and instrumental music is taken very seriously, do you find that people struggle to see it as anything other than that?

ÓA: Artists are sometimes constrained by the image people have of them, but that's not necessarily the image that they are. You get an image of Sigur Rós because of their music but in the end, that's yours not the one they created. Artists only give you certain information about their lives and that information can skew the image of them.

So much of how people react to your music seems to do with what we think we know about where you're from. Do you find people react to your music differently knowing you come from Iceland?

ÓA: Of course but that's their simplified version of the world in a way.

Do you think the outside world now expects music from Iceland to have this big grandiose feel like akin to yourselves, Jonathan Johansson and Sigur Rós?

ÓA: Oh yeah, yeah! People do, but that's not really how it is when you come here and listen to the local music and a very little part of it actually sounds like that. You have pop bands, metal, punk, hip-hop, it's just like everywhere else. It's a very small scene here, so you have to work with other people from different genres.

Talking about Sigur Rós, they didn't receive a lot of attention outside of Iceland until after 1999, do you think where you live doesn't really affect how your music gets out?

JR: People listen to Icelandic music and are looking for the weird music if you know what I mean, so they don't really see what we see when you actually live there.

Does it frustrate you?

JR: It's just so funny that people think a whole country can just make Sigur Rós type music?

Of course you both like to have a lot of creative projects going on at the same time, is that the product of the age we're in and how easy it is to connect with other artists?

JR: I definitely think it's really important to be open about everything and borrow ideas from everywhere. There's so much going on and if you're making music today you can do whatever you want so it's stupid not to work with many people and get as many ideas as you can.

Don't you think it's important for your work ethic too, I find working on different projects can squash creative stagnation.

ÓA: I feel like the more I do, the easier it gets to make more music. It's like practicing an instrument - you get better at it. So, if you want to write a lot of songs, you must just keep practicing.

Read our review of Kiasmos' self-titled album by heading here.