It’s just a username.

In late 2017, I had a bunch of demos that mostly fell somewhere between club music and abstract sound design. At that point, it didn’t really feel like something I wanted to release. I considered scrapping everything to start something new but forced myself to finish the tracks before moving on. Initially, my idea was to make a seamless ‘mixtape’ out of these often short ideas. The first draft was more like a compilation of moments and spaces, rapidly moving from one to the next, like a stream of consciousness. Eventually, I let every idea live longer and it turned into two EPs – Attune​ and ​Torn/Enhanced​.
Practically speaking, this music comes from trying to write by shaping sounds and resampling them endlessly to create instruments that feel lifelike and physical in a way. I’m drawn towards sounds that paint mental imagery. I generally used a lot of heavily processed material ripped from Youtube and recordings from my phone. The latter doesn’t mean much to the listener, but it made it feel more personal to me. ​Attune’​s opening track is a collage of iPhone recordings from my room, like myself by the window spontaneously humming over a civil defence siren test, and someone close to me talking in their sleep.

The song Epinephrine started with a ripped binaural recording of someone mimicking the sound of ear-licking. I’ve definitely extracted energy from club music, but it was more about drive and intensity than creating something meant to be played in a club. I had no clear concept in mind while writing this music, I rarely do. Sometimes, I have a vague idea of what I want to accomplish, but I’m mostly driven by curiosity, and perhaps a general desire to create something that reflects the world as I experience it. It’s a chaotic mishmash of impressions. I like the overwhelmingness, brutality and general feeling of instability because it feels like something real.

More than anything, it was fun. I’m from a small country, and an award show is a strange place to be. Being nominated for a Spellemannspris is like a staple of being a ‘serious musician’ to people who aren’t that into music here. I got nominated for something I wasn’t even sure if I wanted to show to anyone. I’m grateful for the recognition.

I just have a couple of friends that are quite like-minded, and we DJ or book other DJs we like occasionally. Nightlife is generally very restricted here, so some people organize their own events outdoors during the summer. I recently played in a dusty tunnel under a bridge.

I’ve always appreciated artists who create large and layered bodies of work that you can submerge yourself in, or who somehow challenge the field they work within. When I started making electronic music as a teenager, my tracks were characterized by the immature idea that I could somehow say everything I wanted to say simultaneously and still make sense. I tried to blend elements from most of the music I was into. Everything from Clube da Esquina to Meshuggah. In a way, I still do, but I’ve created a sonic palette that holds it together, even if I choose to go in opposite directions.

I don’t have a clear favourite, but I enjoyed playing and being in Kyiv recently. It’s an interesting place that I would love to see more of.

Fakethias, but more ‘big room energy’ and complementing visuals by Felix Schéele.

I’m always working on a lot of things. Look out for a release with Onleash (better known as Drippin) on our new label Massive Gain in August. It’s my first attempt to make actual dance music.