Intr0beatz aka Reykjavik Iceland native, Arsaell Thor Ingvason, is a beatmaker and producer with a lifelong love for the groove. From his earliest years delving into his father’s musical collecting and compositions, he first came to prominence as Intr0beatz back in the late ‘90s first as a turntablist, then as beat producer behind various Icelandic Hip Hop groups but also producing a few tracks for international rap artists.
Intr0beatz is now a staple in Iceland’s recent house music revival as well as playing and DJing in Canada, Europe, South Africa, and Japan. After a recent paternity leave, he is now based in Berlin and is finally back in the studio with releases lined up on Aterral and Cosmic Angles.
On the run up to the relaunch of his label Cosmic Angles with his ‘Liminal Spaces’ EP we sat down with Iceland’s finest for a chat…
WWD: Where did you grow up, and how did your environment shape your relationship with music?
I grew up in Reykjavik, Iceland, in a small neighborhood on the outskirts of the city called Seltjarnarnes. My father is a musician, so I’ve been surrounded by music my entire life. I often accompanied him to studio sessions, which gave me a unique perspective on artistry and taught me a great deal about the creative process.
As a child, I spent time with older kids, one of whom was the brother of the owner of Þruman (Thunder Records), a record shop that was the only one in Iceland catering to genres like house, techno, drum and bass, and hip hop. Hanging around the shop was a source of inspiration, exposing me to a wide range of music from the UK and the US that deeply influenced my own taste and musical direction.
WWD: Who was the most influential person in your life growing up in terms of your musical development?
My parents were very supportive when I first showed interest in pursuing music. They bought me my first set of turntables and a mixer, which became my foundation before I began creating my own music. They also helped me acquire my first piece of production gear, the MPC 2000XL. Later on, I connected with friends who already had music equipment and were making beats. They taught me how things worked, showing me how to sample and transform different elements into something unique.
WWD: What’s the first memory you have of making music?
I must have been around 13 years old when my dad was using Cakewalk Audio software to compose music. My oldest friend, Hjalli, who was very skilled with computers, figured out how we could program beats and sample into the software. The only thing I really remember about that beat was that we sampled an acapella from Mobb Deep, where they say, “Rock you in the face, stab your brain with your nose bone,” which we thought was pretty hard. Somehow, we managed to get that sample into all of my dad’s projects, overwriting every MIDI note in his sessions. The result was that all you could hear was the sample in different keys. That was the first and last time we were allowed to make music on his computer!
WWD: When you think back to your earliest projects, what’s something you would do differently now?
I wouldn’t change anything. I made a lot of shitty beats during my hip-hop days, and even since I started making house music, I’ve put out tracks that I’m not particularly proud of today. That said, those experiences taught me a lot. I believe that with every mistake comes a learning curve, and without those missteps, I wouldn’t have learned the lessons I did.
WWD: Why do you think persistence is such an important part of making it in the music industry?
I believe it’s crucial to stay true to your own tastes and beliefs in order to build a catalog of music that reflects you, rather than just following the trends. If you constantly chase the hottest trends, you’ll likely end up with a catalog of tracks that, in 20 years, no one cares about. It’s easy to fall into the same mindset as everyone else, but it’s important to try your best to remain unique and create something you feel is missing in the world. The timing may not be right now, but in a few years, someone might discover it and truly appreciate it.
WWD: What’s the most unexpected lesson you’ve learned throughout your career?
Releasing music with artists or labels you’ve admired can sometimes turn into disappointing experiences. I believe that clear communication is key, and the lack of it—or poor communication—can really affect the process. However, even in those situations, you end up learning a lot.
WWD: What’s a key piece of advice you would give to your younger self at the start of your journey?
I would tell myself not to let your surroundings affect your creativity, as this has happened to me many times. Even when you feel like you can’t go on, take a break and return with renewed energy.
WWD: Who’s been your biggest supporter throughout your career, and what’s their impact been on your success?
I’ve never really felt like I’ve experienced traditional “success,” except for the achievement of releasing all the music I’ve created over the past 10-plus years. There have been a few key people who’ve played a major role in my musical journey. First and foremost, my parents, who have always supported what I do. My friends, Diddi Fel and Gnúsi Jones, were instrumental in showing me my first steps in making beats. Shur-I-Kan was the first person I sent my house music demos to and helped me release my first house EP, which set everything in motion. DJ Caspa has been a great supporter since my first release, and beyond that, a true friend who helped raise awareness about my music. And, of course, my wife, Hófí, who has always supported me and truly understands what it means to be a creative person. As a creative herself, she knows the dedication it takes and the challenges of being an artist.
WWD: What’s one of the biggest sacrifices you’ve made to stay committed to your music?
Throughout my journey from turntablism to making beats and eventually becoming a solo artist, the greatest sacrifice I’ve made has been my social life. Dedicating over 10,000 hours—and likely even more—refining my craft leaves little room for socializing. While I’ve certainly had my share of going out and enjoying life, I always find myself returning to my equipment, eager to learn new techniques and expand my musical skills. It’s interesting to reflect on how the name intr0, which I initially adopted during my brief graffiti days, has become such an integral part of my identity. Over the past decade, I’ve become quite introverted, absorbed in the process of making music. However, when I consider the trade-off, it doesn’t feel like much of a sacrifice, because music is my greatest passion, and I genuinely enjoy creating it for myself.
WWD: Why do you think it’s important for artists to share their struggles as much as their successes?
Because success doesn’t happen overnight. You don’t simply come up with an idea and immediately experience instant success or positive outcomes in music. In today’s landscape, it’s evident who has invested the 10,000+ hours required to hone their craft and who is merely seeking attention. However, success is defined differently by each individual. For me, true success lies in my ability to continue creating music that resonates with me personally, while having the support of friends I’ve genuinely connected with—people who are willing to release my work. Additionally, I value the enduring support from long-time followers who share and appreciate what I do, regardless of when I release it.
WWD: Beautifully put. Thanks for the chat 🙂
‘Liminal Spaces’ is available here