Rasmus Rasmussen was a Faroese musician, born in Thorshavn in 1980. He was openly gay and unfortunately he had to suffer for who he was with endless  homophobia and hate. In 2008 he released the album Poems in Sound which i got from him when he was in Reykjavik 2008 to perform at the Samtökin '78 (The National Queer Organization) 30th year anniversary. It´s a beautiful album from a very talented musician who left this world too early. Hope you´re ok with me playing around with your song.



A footage from the last part of my set at Vinnslan #5 at Norðurpóllinn Theater & Performance Center in Reykjavik, Iceland, April 6th, 2013. Vinnslan is a performance making group who regularly initiates an event where we invite inventive artsist to create work in front of a live audience. This is the last part of my 45 minute set.

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Bistro Boy is in a good company with fellow Icelandic musicians who have their take on Skurken´s song Anrthrudur from the album Gilsbakki released on Möller Records. Artists doing remixes are all well know Icelandic electronic artists including Ruxpin, Futuregrapther, Subminimal, Tonik, Murya and Tanya & Marlon. The album is free, for full download just Tweet or post on Facebook and the album is all yours. Enjoy!


Recent review on my album Solheimar (released May 29th 2012) in Igloomag. This is how it goes...and thank you Igloomag!

BistroBoy displays a balance between delicate electronic pop music, fluid Detroit-inspired techno and strands of downtempo grooves for Sólheimar.

Relative newcomer to Iceland’s Möller Records, BistroBoy displays a balance between delicate electronic pop music, fluid Detroit-inspired techno and strands of downtempo grooves for Sólheimar (a place known as a world renowned sustainable community in Iceland for its artistic and ecological atmosphere where about 100 people work together). Best consumed as a product of six individual sonic pieces, BistroBoy delves into a surplus of pleasant tones (ref. the reflective piano keys of the opening track “Lognið eftir storminn”) to more lively percussive workouts (ie. “Flugdrekar”) and juggles a few genres seamlessly. The Detroit Escalator is echoed on “In Dreams,” its light pattering of high-hats flicker with 4/4 loops of bliss as does “Bara ef…”—albeit in a Basic Channel flow of atmospheric techno and introspective melodies. “Afrika” absorbs queues from B. Fleishmann’s Pop Loops For Breakfast (Morr Music, 1999) where warm synths frolic with harmonious popping beatwork and delectable chimes. As a whole Sólheimar exhibits a flare for early-ear IDM (pre-2000), as well as evocative layers of nostalgia and rhythm-centric vistas.

It’s likely that the ingredients presented on this EP will bid well for a more fleshed-out full length which is (hopefully) in the works. All comparisons aside, BistroBoy is a pleasant voyage of musical transformations that are bright, brisk and consuming.