Archives for posts with tag: netaudio

As pre-announced on Facebook and Twitter, the current version of the Periskop website has been dismantled and all 920:25 mins worth of music files taken offline. This has been done because a completely new website and music file structure is needed to accommodate the release of the forthcoming Periskop album. There will be an announcement about the concept and specific content of the album soon.

Periskop is a music project developed inextricably with the web. Not only has the Periskop website been continually adapted and revised to proliferate the increasing amount of music files and information, but the music itself has also been made to be proliferated in a specific manner on the website.

From the very first version onward, the Periskop website has been a single b/w HTML page presenting all the music files and information relevant to the project. Here is the history of the Periskop website, which correspondingly is also a history of the Periskop music project.

Version 0

http://kreutzfeldt.dustopper.dk/periskop on 25th of April 2007.
ENLARGE kreutzfeldt.dustopper.dk/periskop.html – May 1st, 2007

This very basic site was only used for about a month. It embodied the same minimal, nihilistic and uncomplicated approach as used in the production of the tracks it proliferated.

Version 1

http://kreutzfeldt.dustopper.dk/periskop on 11th of July 2007.
ENLARGE kreutzfeldt.dustopper.dk/periskop.html – July 11th, 2007

The first version tried to anticipate the amount of music files in vain. To balance the structure of the page a peculiar pre-Twitter micro blog was introduced in the right column, acting as timeline for the Periskop project. The video in the middle was the looping slideshow used at the conceptual laptop gigs, which were performed as Periskop from April 2007 to August 2008.

http://kreutzfeldt.dustopper.dk/periskop on 3rd of September 2008.
ENLARGE kreutzfeldt.dustopper.dk/periskop.html – September 3rd, 2008

The final edition of the first version. With the addition of the “15” release and links to media coverage as well as early social networking profiles, the amount of music files and information had grown beyond the limits of the structure.

Version 2

http://periskop.cc on 26th of March 2009.
ENLARGE periskop.cc – March 26th, 2009

After registering the .cc domain in late 2008, this grid-based site was the new home for Periskop until mid-2010. It was a pretty user-unfriendly vertical/horizontal scrolling site, which allowed the introduction of some new elements: Releases made by new sets of codes. Articulation of the rules on which the music was made. Artwork for the ongoing releases.

Version 3

http://periskop.cc on 16th of January 2013.
ENLARGE periskop.cc – January 16th, 2013

This is the final fully fledged single b/w HTML page, as it had been looking since mid-2010 with only minor. It took a user-friendly approach with a more narrative lay out of elements in a long vertical scroll, that allowed more modules and more space for presenting each module.

Version 4?

The next version will not be a single page HTML website. It will, however, remain b/w and should be operational along with the release of the forthcoming Periskop album.

Tone Sofie Nielsen

The versatile voice of Sofie Nielsen has been successfully included on a 15 BPM click-doom track for the forhcoming Periskop album.

Sofie is active in her prolific solo-project Tone, where she excels in sincere and technologically aided multilayered singing.

Here’s a fine example of her work:



Tone has two albums out on Uhrlaut Records. The same label, that will release the Periskop album early next year. Uhrlaut specializes in releasing Danish electronic music on vinyl and as free download.

Tone live in Aalborg

An interview was conducted with Tobias Fischer back in 2010. It turned into a 3-page article published in the January 2011 edition of the German electronic music magazine Beat.

The interview covers, what Periskop has been for the last 5 years, and has now been cleared for digital sharing.

Read/download it here: periskop-beatmag-jan2011.pdf

Extracts from the original English interview transcript:

TF: Why did you consider submarines to be an interesting point of departure for a music project? How did Periskop begin?

DK: It began in 2003 during a period of personal fractures, and the notion of the periscope as a way to see the light of the surface was very meaningful. During that year I did about an albums worth of dark melancholic dub tracks with friends of mine on vocals. Things brightened up again and I never got back to finishing the demo. While working on a bunch of other projects the project was derelict until 2007, where I was becoming gradually more uninspired musically and felt a need to redefine some basic premises about how and why I made music. This process was completed about a year later, where I stopped all other music solo projects.

TF: Periskop is said to deal with, among others, a „posthuman environment“. Is this perhaps the expression of a rather bleak perspective on humanity? Is there some kind of a political message behind it all?

DK: I certainly don’t think of it as a clearly formulated political message, but we do live in a period of time, where what it means to be human is under negotiation. Posthuman is not to be confused with postapocalyptic, but is rather the notion, that we are increasingly in technologically mediated relations with our surroundings. I’m not arguing for or against that, but am rather reflecting on the obsoleteness of a free creative subject using technology as mere tools to achieve some sort of artistic vision. Instead I try as Periskop to subject myself as fully as possible to the technological mediation of creative work.

TF: The first musical aspect one will notice about these tracks is their „restrictions“. How did the idea come up? Which restrictions have proved to be most demanding, which were most rewarding?

DK: I tend to fall into perfectionism, but the restrictions are an excellent way of dealing with the seemingly endless possibilities of software based sound creation, and I think a lot of electronic music producers use them either subconsciously or fully consciously. Restrictions have for me always been closely connected to a notion of consistent aesthetics, and thus not something to overcome but rather to harness. With Periskop I’ve found it very rewarding to start with an artistic vacuum where nothing is allowed, and then gradually open up for controlled experimentation towards a balanced set of restrictions, that makes it both possible and exciting to redo the experiment numerous times. The most demanding one is by far the 15 bpm standard in the 8 click-doom tracks I’ve made so far, but in the end it’s also the most rewarding to pull off, and as a whole I think they are probably the most original thing I’ve done musicwise.

TF: Other than respecting the relevant restrictions, how do these tracks take shape? In which way, for example, do you conceptualise and arrange them with the theme of submarines in mind?

DK: All work within the project can be clearly separated in two different types of work. There’s the experimental work, where I try new things out and work towards a new framework. And then there’s the ritualistic work, where I redo the experiment eg to make another track in one of the ongoing releases. The submarine sound is a completely causal extension of how the rituals are predefined. At the moment I’m doing more experiments than rituals, which results in less new tracks in the existing ongoing releases than previously, but should also result in new exciting rituals to perform in the future.

TF: Periskop questions or at least complements the relevance of traditional formats. Do you feel as though the freedom of ongoing projects like this is preferable over the static notion of an album as a fixed entity? In which way do you see your entire output converging towards this idea?

DK: Yes. Very much so. It has certainly allowed me to do exactly what I want when I want to. This is also where the choice to give the music away for free came from. When there’s no economy involved in the project, I don’t have to worry about promoting it either. It’s just there for people to find, which they still increasingly do here 3½ years after the first track was uploaded. If there wasn’t any traditions for how to release music, I’m confident this is how most musicians would prefer it done. And indeed what is happening right now, is the dynamics of the social web are turning the output of a lot of independent acts into growing playlists of single YouTube clips or tracks on SoundCloud. In this sense, I don’t see what I’m doing with the ongoing addition of content to the Periskop website as something extraordinary.

TF: The current minute count of Periskop stands at 835 minutes. Can the sheer size of the project and how far you’ve come seem bewildering at times?

DK: Actually no. Since I’ve considered every step fairly thoroughly, I mainly feel I haven’t come far enough yet.

The final versions of four 9:51 mins 130 BPM hypno techno tracks have been uploaded on periskop.cc.

Downloads:

periskop-130-wav-230512.zip (.wav – 405 mb)
periskop-130-mp3-230512.zip (.mp3 – 91 mb)

Codes:

Tracks are 130 BPM
Tracks have 1280 beats
Tracks contain a base synth undergoing continous modulation
Loops and soundfx are digitally enhanced drum machine sounds
Elements are added in flowing conjunction with the synth modulation
Kickdrums can be interrupted to enhance the effect of the modulation
All other elements go uninterrupted once introduced in a track

Files:

periskop-130-01-0951-230512-23600.mp3
periskop-130-02-0951-230512-23600.mp3
periskop-130-03-0951-230512-23600.mp3
periskop-130-04-0951-230512-23600.mp3
periskop-130-230512-213.jpg

For the time being, the previous versions can still be streamed on SoundCloud.


Periskop – 130 C May 31st 2011


Periskop – 130 B Feb 18th 2011

periskop-circle(125)-15-0506-141210-11992.mp3
periskop-circle(125)-16-0506-141210-11992.mp3
periskop-circle(125)-17-0506-141210-11992.mp3
periskop-circle(125)-18-0506-141210-11992.mp3
periskop-circle(125)-19-0506-141210-11992.mp3
periskop-circle(125)-20-0506-141210-11992.mp3

More info on http://periskop.cc.

After more than a year without an update to the `15´ release, another venture into 15 BPM click-doom territory has been added:

periskop-15-09-1501-281110-35207.mp3

The track makes the entire release, which can be downloaded in this 252 MB .zip, just over 2 hrs long.

The 14 monotone circle(125) tracks have been turned into a rocking whole by DJ dee3 in the latest edition of his popular Compiling-a-Network mix-series.

http://dee3-mixes.blogspot.com/2010/11/can-vs-periskop.html

Radio Alternator is now hosting a half hour long introduction to some of the most recent Periskop audio material. Read all about it here.