North: Deep dark ambient techno by Periskop on a four-track EP released by Kabalion Records, August 18th 2016.
The tracks are older solo productions from 2004-2008 picked by Kabalion Records from the Periskop archives, and two of them have been slightly reworked in late 2015 for the release of this EP. All tracks are mastered for vinyl and digital consumption by Mattias Fridell.
A positive review/article has already been published by JunoPlus. Two of the four tracks have been made available for listening prior to the release.
Earlier this month a Periskop DJ set was made public through the Tripalium podcast. The set features dark ambient, deep techno and bleak acid techno tracks from 1993-2016. I have tried to make an interesting and hypnotic mix of old and new tracks, that share the same depressive/narcotic sound and heavy/ritual beats. The set also features a track from a still disclosed forthcoming Periskop EP.
Tripalium is a French organization located in Paris dealing with techno, noise and acid. Apart from the podcast, they operate several labels and organize monthly raves. With the maxim Echoes from Modern Slavery. Resonances from Industrial Warfare; I was unable to turn down the opportunity to provide a contribution to Tripalium.
Desiderii Marginis – Deadbeat II (Cold Meat Industry 2001)
Aeoga – Temple Treye (Aural Hypnox 2014)
Herbst9 vs. Z’ev – Through Bleak Landscapes (Loki 2007)
Periskop – (2016)
Plastikman – Smak (Novamute 1993)
Drvg Cvltvre – James Franco’s House (Perc Trax 2014)
Orphx – Dead Zone (Hands 2011)
Pan Sonic – Lähetys (Blast First 2007)
Eric Holm – Åse (Subtext 2014)
Lussuria – Mondo Narcotico (Hospital 2012)
Shifted – Out Of Tune (Mote-Evolver 2012)
Oscar Mulero – Transversal (Modularz 2013)
Abdulla Rashim – Red Pool (Northern Electronics 2015)
Ntogn – Ba’al (Tome 2016)
Yuji Kondo – Something For Those Who Wait (Perc Trax 2014)
Emmanuel Top – Radio (Attack 1995)
Ancient Methods – Knights & Bishops (Ancient Methods 2013)
Speedy J – Patterns ’97 Remix (Novamute 1997)
A few thoughts on DJ’ing
I still enjoy putting different pieces of music together to form a new whole that goes on for an extended length of time. That is why I have DJ’ed since the late 90’s and still once in a while make a public DJ performance.
However, since I rarely attend any electronic music event or “party”, I have very little to add to the ongoing discussions about DJ tools or DJ’ing as an art form over DJ’ing as a business model for EDM celebrities. I have no opinion on what other DJs do, and can only offer an explanation of why I do what I do as a DJ.
This Saturday I am playing a vinyl set at Copenhell 2016 and over the years I have DJ’ed at numerous underground concerts in my home town. This normally happens under another name than Periskop and with various doom/black metal and acoustic/ritual/industrial music LPs from my vinyl collection. I like the tactile nature of DJ’ing vinyl and benefit from having to select tracks during the set from a limited amount of records, that I know very well.
Occasionally I also DJ as Periskop, which is still a vinyl set, but naturally with emphasis on electronic music. However, the possibility to do DJ sets for podcasts has recently led me to see the benefits of doing arranged DJ sets in an audio editor as opposed to submitting more or less treated recordings of performed vinyl sets:
– Much bigger range of tracks/sounds to choose from.
– Three or more tracks/sounds at the same time.
– No need for a working studio with two turntables.
– No need to do the whole thing in one go and can be done just with headphones.
– Possibility with my limited skills to do longer and tighter beat mixes.
– Fine tune details to make complex and abstract intersections work seamlessly.
So just like the 2015 Periskop podcast for The Forgotten/Awareness, the DJ set for Tripalium mentioned above was made using the basic freeware audio editor Audacity.
Last Summer I DJ’ed as Periskop at Skovgilde 2015. An annual genre-unspecific two-day event in a barn out in the woods somewhere near Mols Bjerge National Park on the Jutland peninsula. I played for five hours late night til morning on a rudimentary set up (also pictured above) and for a part of the set I mixed material exclusively from the Periskop vinyl releases. As far as a Periskop live act goes, this is it.
I have also previously writen a few words about my DJ appearance as Periskop at the 2012 harbour warehouse rave in Aalborg.
I recently dug out this home recorded DJ mix from 2003. I was rather active performing live and DJ’ing in that period and this mix documents the style I was playing. It features deep sound experimentation from around the millennial turn. Dark drones, deep pulses, tender glitch, soaring noise and an unsettling landing in a strange blues. It also features an early unreleased dark ambient production of mine, and if I had operated under the Periskop guise back then, this mix would have fitted in there nicely.
It is now about half a year since the Periskop full-length Immerse was released on Kabalion Records. The material is originally from 2000-2008 but significant effort was put into remodeling it in 2014-2015, so that it would become a coherent whole. It is rewarding to look back on all this and see that it has been well received. Considering Immerse is basically long depressing tracks with low to no tempo and arguably only abstract sounds and noises, this has been a pleasant surprise.
From my vantage point, the reception has been manifested by various positive conversations and online exchanges. It has also been evident in more formal ways, as Immerse has been featured in numerous reviews, year end lists and podcasts.
With this post I would like to say thank you for the support to whoever has appreciated, bought or proliferated the release.
Immerse in podcasts
Shaded Explorer – Monument 75 | Arnaud Le Texier – Children Of Tomorrow 13 | BLNDR – Smoke Machine UN43 | Retina.it – Electronique 261 | Luigi Tozzi – D-Node 272 | Concept Of Thrill – The Other Cast 004 | F-On – Trauma 08 | Vâyu – Lett 08 | Noctum – Lett 11 | Radio Vibration – Kick Back 60 | ARD | Eexxppoann – Xspheric 02 | Ombossa – Eliptik 17 | Bob Rusche – X-Rated 230915 | Bob Rusche – X-Rated 231115 | Bob Rusche – X-Rated 030116 | Frans De Waard – Vital Weekly 996 | PRG/M – Bunker26 024 | Feral – Inveins 009 | Finn Of Tomland – Diametric 013
I am pleased to see Immerse both featured in ambient or industrial sets as well as atmospheric techno sets. Do you know of a podcast with Immerse material not featured above? Let me know.
Great to see Vital Weekly still running, and I almost made it into the 1000th edition. Extensive and well-written reviews by Cyclic Defrost and ATTN Magazine.
More info and streaming of Immerse here.
An official music video has been made for a track on the Periskop full-length Immerse, which was released on Kabalion Records in June 2015.
The music video was made by Danish video producer, musician and illustrator Emil Brahe and uploaded on YouTube in August 2015. The music video consists of more or less abstract scenes and cuts from various old black and white documentaries from the public domain with industrial, technical or oceanic themes.
Each scene and cut has been carefully selected to convey the mood, ebbs and flows of the bleak drone track, which is the closing track on Immerse. The track it self is heavily textured by field recordings from harbour settings and other out door soundscapes.
The source material was only available in a slightly poor digital resolution. The pixelation has been more or less blurred out by Brahe, who used an old VHS-C video camcorder to record a computer screen showing the old documentaries. Of course this re-analogizing of the material is slightly ironic as the end result is re-digitized for upload to YouTube. Maybe in a not too distant future the music video format will see a material revival in some of the old analogue video formats.
This 2015 Periskop music video is similar to the 2013 Periskop music video for Periskop – 1. I (with Danish National Symphony Orchestra). This was made by Danish music video production enterprise Tarfilm, who also used old archive videos but with a smaller degree of abstraction and strong emphasis on submarine themes.
Watch and read about the Tarfilm music video for Periskop here.
This 2015 music video for Periskop by Emil Brahe is one in an amount of collaborations between Emil Brahe (pictured left above) and I during the last couple of years:
- In 2011 he released the EP Black Cloud Of Becoming with his doom metal band SOL on my drone & doom netlabel Drowning.
- In 2012 Emil recorded vocals for a track on the Periskop LP album released as part of Periskop 40 in 2013. Listen to the track here.
- In 2013 SOL performed in Aarhus on the Periskop 40 release tour.
- In 2013 SOL also released the full-length And the mouth of time is open on Drowning.
- In 2014 I participated on the recording of the forthcoming SOL album The storm bells chime, which will be released later this month on Italian black/doom metal label Avantgarde Music.