Bjarki – EL (трип)
Porya Hatami & Arovane – onva (Time Released Sound)
Bastian Void – Drift (birdFriend)
Abul Mogard – Despite Faith (VCO Records)
New Rome – Nowhere (Room40)
Arve Henriksen, Hilmar Jensson & Skúli Sverrisson – Náð (Mengi)
Scott Monteith – Ghazal 4 (Field)
Terje Isungset – Global Warming/Global Warning (All Ice)
2814 – Before The Rain (Dream Catalogue)
New Rome – Cat (Room40)
Jon Hassell – Blue Nile (ArsNova)
Abul Mogard – All This Has Passed Forever (Ecstatic)
Dead Light – Sleeper (Village Green)
Saåad – Opaque Mirror (In Paradisum)
Steve Jansen – Sadness (Headcount)
John Surman – Holding Pattern 1 (ECM)
GNOD & Anthony Child – Part Two (Tesla Tapes)
Trio Mediaeval & Arve Henriksen – Krummi (ECM)
B/B/S/ – Navel Oil (Miasmah)
Monadh – Ammophila (Further)
Jonathan Fitoussi – Aquarius (Further)
Loscil – Deceiver (Kranky)
Steve Jansen – Memory Of An Imagined Place (Headcount)
Llarks – Through The Sun (Lamour)
David Sylvian – Where The Railroad Meets The Sea (Virgin)
Monolake – Inwards (VLSI Version) (Imbalance Computer Music)
Arve Henriksen, Hilmar Jensson & Skúli Sverrisson – Mín (Mengi)
In the light of the God Goes Deep event, techno maestro Rivet comes up with a special set that ventures beyond his conventional on an evocative 90 min ambient set, for our anniversary podcast, recorded in the mighty acoustics of the Cathedral of Copenhagen.
Releasing his first productions in 2001, under monikers such as techno-throbbing Grovskopa, industrial Kovsh and several others until using the current Rivet name. Mika Hallbäck’s efforts range from running labels to own productions found on various labels such as Surface, Warp Records, Emergence and more.
Deeper into Rivet’s contribution to a particularly sonic universe and culture, he launched the proto techno/post-punk label Kess Kill with recent releases from Grand Mal X and the hypnotic analog-driven Geneviéve Pasquier, with an upcoming dose of punk with good measures of electronics from Vitor Hublot.
When, Where and How was this mix recorded?
It was recorded at an event called ‘God Goes Deep‘ located at the beautiful and majestic Cathedral of Copenhagen (Domkirken København). I played there twice, this recording is from the second time which was on the 24th of march 2017.Just two decks and a mixer, using no monitoring as you really have to mind the acoustics, pulses and frequencies in that space. So different from club sets, not only musically (obviously) but also in a technical point of view. I’ve never used the EQ as much as when I play in there. I recorded it using microphones, as half of the experience is the ambiance and acoustic of that space. Thankfully there weren’t that many coughs!
You have worked under various monickers such as Grovskopa, Kovsh and more are those pseudonyms only a contrast of music influences or more?
I only really ever used one moniker at a time. Grovskopa was my past self, Rivet is my current self, Kovsh was a recovered relic from the past that just didn’t make sense to release as one of the others both for musical reasons and the fact that some of it was two decades old!
How did you first notice the acoustics of Cathedral Domkirken and got the idea of going forward with this project?
I can’t any take credit for that, I’m just honoured to be invited. They have a long history of these events. The first time I visited, Surgeon was playing an improvised modular set!
Denmark is, unlike Sweden, quite progressive when it comes to new art and culture. The priest is actually also the sound technician, when was the last time you heard that job description?
Your set felt like it was made up of music that resonated to and completed space, compared to techno’s eighth notes. What was the process behind this unique selection of yours?
Yeah totally, like I said in first question you really have to submit to the space. It’s nearly impossible to play rhythmic music in there as the echoes bounce so much, and some frequencies, no matter how soothing they sound at home, resonate and distort in the cathedral!
So I just flow really, try to hit the tune with the pitch and work the EQ loads. Quite a trippy experience. 90 minutes of ambient seems like it could be tedious, but time flies!
Up to the various venues you’ve played, what are your highlights?
Oh that’s a hard one. It’s usually not about the venue itself. The cathedral possibly being an exception because of it’s uniqueness.
Some of my fondest recent memories would, apart from the cathedral, include; Lithuania (played several locations there, all were great I love that country), kyō in Singapore, Berghain gig in November 2016 (I started at 80 and ended at 108 bpm and floor was lit!), Malmö warehouse rave christmas 2016 (honestly didn’t know we were that many people here), super intimate Kontra-Musik garden party summer 2016, opening for Robert Hood at Culture Box, Dekmantel Festival… Most gigs are great really, I have the best job!
You run the Kess Kill label, how does that go for you?
I’m really pleased as it seems like I managed to very quickly establish the concept. I was quite nervous during the planning as I was sure everyone would think it was too niche and nerdy, which I guess it is, but there seems to be a few hundred nerds in this world!
My aim was to put out 4 releases a year, which I’ve managed so far.
This year I’ve done two EPs (Geneviéve Pasquier and Grand Mal x), and I’m aiming at two more EPs (Vitor Hublot and a yet unannounced act).
Then I also run the labels Sores and b-o-d-i-e-s along with my friends Dan and Heikki, that’s another 6-8 releases per year so I’m keeping busy! We’ve also recently expanded our record label micro empire Sound+Matter with record stores (both physical and online).
A word or more for emerging producers in Mauritius?
Same as for producers everywhere, don’t try to mimic. I know it’s the easiest way to get accepted in the scene, but in the long run personality and integrity is what shines through. All our heroes were slow risers.