Playground magazine

Duration: 00:56:39

Anyone who has paid attention to the movements in the ambient scene, and its connections with classical music over the last years will surely know the importance of the Norwegian duo Deaf Center. They debuted in 2004 with the first reference of the label Type, "Neon City EP", which still felt slightly connected to IDM labels like Warp circa their "artificial intelligence" era. One year on, they delivered their first album, "Pale Ravine", a seminal work which fused muffled strings and weightless atmospheres, a record of sadness and solemnity with a master use of light and darkness that influenced a lot of musicians who started emulating their sound. “Owl Splinters" (Type, 2011), the follow on to “Pale Ravine”, is an even darker and ceremonial album.

Erik Skodvin and Otto Totland work together as Deaf Center while maintaining a parallel high-level individual career. Otto is involved in projects such as Supine (a solo project) and Nest (along with Huw Roberts).  Erik is the man behind Miasmah label and the discoverer of big talents like Kreng, Rafael Anton Irisarri, Jacaszek and Elegi. He has also published six records under the Svarte Greiner alias (on labels like Type, Digitalis, and Experimedia to mention some) all of them of a greater density and darkness than that shown on Deaf Center. Both of them are two monumental talents of modern ambient, that we must thank for many great albums over the past years.

This podcast is a synthesis of their influences (past and present) that serves as an introduction to their performance at Unsound festival in Krakow today at 19.15 in the Church of Santa Caterina. Enjoy this hour of music selected by Erik Skodvin (which is the one who answers the questions below). More than a mix, this is a privilege.

Can you give us a brief description of the mix? why you chose those
songs, the priority on the songs...

Since for once I was asked to make a mix as Deaf Center, I thought I should include a good mix of musicians who inspired the start of the duo from the beginning, as well as some newer inspirations and friends making like-minded music. Biosphere's "Schenzou" album and Murcof's "Martes" were two defining albums back at the time, and made a huge impact. Even earlier records like Autechre's "Incunabula" and the whole mid-late 90's Warp school mixed with artists working in similar fields was what got me into music in the first place and it should not to be ignored. Otto was actually the one who got me into making music far back, and knew about lots of good stuff I've never heard of. These days though he is more into making own music than listening to other musicians, which is why im doing this mix now.

What are your next projects both on Miasmah, as A&R, and as musician?

I'm constantly looking for great new music. Specially artists who manage to stay original and true to their own style. I can't say I've got much new music that has excited me recently, though I have some nice plans for next year, starting with an LP version of Gultskra Artikler's "Abtu Anet" (who I had only released on a limited edition of a 100 cdr, 4 years ago). I'm also working closely with sonic pieces of Monique Recknagel and we have some exciting collaboration plans for next year. Music wise I'm currently trying to find time to work on a new Svarte Greiner album, but it's not very easy as I am traveling a lot and have other things taking up my time. I am currently working on music for 2 different art projects, ranging from video to installation.

You're playing Unsound this year. What did you know about the festival before they addressed to you and what do you expect from it in both your performance and from other artists that are playing there?

Actually Mat from Unsound contacted us as Deaf Center a few years ago, asking us to do something special for Unsound, though it never really worked out. We played the New York version this year though, which was great fun. I am looking forward to coming down to Krakow. Seems like Unsound is the most exciting music festival happening these days, though I wish I would have had time to go there last year because of the horror theme and the Miasmah showcase. Unforutnately I had different plans already, but luckily was invited this year. Maybe what I most would like to see is HTRK, though it seems like I'm arriving to the city exactly after they play :-/

I'll definitely catch The Haxan Cloak, The Caretaker & Andy Stott. I guess I'm not very excited about the whole synth trend going on right now, but I'm sure there's some good new stuff to discover!

PG Podcast 050

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