It takes a special kind of artist to transcend not just genre-pigeonholing, but creative pigeonholing altogether. But when Oh Land, aka Nanna Oland Fabricius, emerged in 2011 with an eponymous debut bursting with unique identity, it became immediately clear that the Danish chanteuse was one of those precious few.
NME labeled an early show at London's Scala as "blessed with powerful magic" whilst The Guardian described the album as "a stunning collection of pristine pop with an alluring mix of the electronic and the organic". Publications as diverse as Grazia and Q magazine also swiftly got on board, whilst Oh Land's undeniably striking aesthetic also saw the singer appear on fashion spreads as prestigious as the cover of Miss Vogue. Nanna's brilliantly idiosyncratic personality - from the wide-eyed Bjork-meets-Lykke-Li shimmer of her music, to the entrancingly eccentric ingenuity of her aesthetic to the genuine aura of dreamlike innocence that peppers her speech ("When I was 10 I was convinced my real parents were prisoners in the troll world," she endearingly confessed during one magazine feature) - was clearly magnetic.