Some artists deal in brash, broad strokes. Ólöf Arnalds is certainly not one of those. With her debut Við og við, she garnered critical acclaim thanks to her enchanting voice and the command of her instruments, teamed with the startling intimacy that the recordings provided. Any follow up to an album that, according to some outlets, was one of the definitive records of the past decade, would be difficult. Her style is measured, languid and precise, and it’s no surprise that the approach to making a second album would match. But Innudir Skinni, the result of those three years of toil, is far from a formulaic sophomore record.

Many elements have been retained, with Sigur Ros’ Kjartan Sveinsson keeping his role of producer, and Arnalds herself still sounds bewitching, a voice stolen from a fairytale. But from opening track Vinur Minn that this is to be a much grander affair than it’s predecessor, with the song’s two minutes sounding more expensive than anything that has come before it. Though the inclusion of a choir and string sections may be the exception rather than the rule, this expansion is something echoed throughout the record, the inclusion of other musicians a recurring theme – most prominently a duet of sorts with Bjork.

This is a broadening of horizons in many different ways. Since the release of her debut, Ólöf has had to deal with some fundamental changes to her life – namely the birth of a child. Unsurprisingly, the effect of this life altering shift in focus can be felt throughout the album’s 32 minutes, with the fractured feel recurrent, perhaps a mirroring of the burst in which the record was recorded.

Lesser artists could’ve suffered at such a shift, but it seems that even in regards to change Arnalds is nothing if not composed. Importantly, it all sounds natural, a transition and growth rather than anything forced. The inclusive, work-as-a-whole feel of Við og við has been sacrificed, leading to a more uneven experience that still manages to reward the listener. There’s a greater depth in experimentation on show, and with that has come a progression to well rounded songs that work well outside of the album’s track listing. It’s not quite a move towards the mainstream, but the inclusion of songs fully sung in English might mean she at least has an eye upon it.

There are many highlights, but it was always going to be the cameo from Bjork that steals the headlines – but even without her presence, penultimate track ‘Surrender’ would’ve still been the standout moment. Still, Innundir Skinni feels like a transition record, but beautifully so – hopefully the movement will be from underappreciated former Múm collaborator to the level of international stardom her talent so clearly deserves.