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.