Per Hammar Q&A

Welcome to Magazine Sixty, Per Hammar. Let’s begin with your new single due out on INFUSE: Conscious EP which you have co-produced alongside Rossko. Tell us about how you got introduced to each other and how have you found the experience of co-producing, as opposed working as a solo artist?

Hey! It actually all started with a high five in the booth at Watergate here in Berlin. I was supposed to play the closing set, and was ready to take over from Ross when he drops a track from me and Edvin Wikner,”Lindström”.

We hadn’t met before, and I thought he played the track since I was there, but he hadn’t seen me. So I was like “Nice one! high five” And he responded High five!”Who are you by the way?!” The day after we had coffee and then we produced for one year.

Since I’ve started to make music by myself over a decade ago, I’ve only done a few collaborations. I need the space to be able to try stuff and do weird things without explaining why. Also I need to feel relaxed. Not many producers can give me this, but Ross is definitely one of them.


Conscious EP pre-order/ buy Link: https://lnk.to/INFUSE031

The first track on the EP: Unconscious is a brilliant combination of sights, sound and voices. Can you talk us through how the piece was created, including the more unconventional pieces of software/ hardware you used in the production?

A funny thing with this track is that it was actually the first track we ever started together. Even if it kinda came together smoothly, it did take at least 15 sessions. We had 3-4 different drafts that we played during the weekends for research. We just started jamming in my studio with my usual suspects: The eurorack, x0xb0x, Yamaha DX-27 and tons of Roland RE-301. For all the little blips and glitches we used a Форманта УДС, a Ukrainian drum machine from the 80’s USSR. During one of our lunch breaks we found a cassette with hypnosis exercises in a box of trash on the sidewalk, Neukölln style. Back in the studio we recorded it and used it as a vocal in the track.

You recently celebrated your eight year anniversary of Kiloton in Malmö, Sweden (the club who co-run with Kajsa Lindström). Eight years is a long time these days. What do you put the success of the night down to, and what do you feel can be offered by regular nights that one-off festivals cannot?

At the night during our first birthday party I remember one of the owners of the venue telling me”Thanks for a great year! Let’s aim for one more, yeah?” Indicating that it would be cool, but let’s see how it goes. Suddenly we’re here 8 years later. I think the most important ingredient is to work with real people that you can communicate with. Someone needs to be the party pooper that sometimes say no to things due to financial reasons, and you need someone that says yes to things so you don’t ending up in a loop of planning.

Malmö is a small city with a very tight scene. If you’re true to the crowd, they will be true back.

You are originally from Sweden and now live in Berlin. How would you describe the two cities and what has living in each taught you?

That’s a really interesting question. I questioned it myself a lot while living in Malmö. Compared to other cities around the world with around 300.000 citizens, Malmö has an outstanding scene. We have a few artists heading from here. Minilogue/Sebastian Mullaert, DJ Seinfeld, Kontra Musik and Patrick Siech to name a few. When I moved there in 2007 until a few years ago the electronic scene was thriving. There was underground parties driven by enthusiastic people pretty much in the city center. You could go out and see big international DJ’s Fridays and Saturdays on a wide selection of clubs. On top of that we had a quite big punk scene, squatting houses where they threw techno parties. The whole scene was, and still is, intimate and very friendly. Something really special actually. The pulse of the community gave me the energy to keep on doing what I wanted. And for many years I didn’t wanna be anywhere else.

Which is not a completely common thought, when most people working with something cultural in Sweden move to Stockholm. Things changes and so did Malmö, and I felt I wanted more of the belonging to the scene. Then Berlin was the obvious choice. It’s the completely opposite of the friendly scene in Malmö, but on the other hand I met so many new friends and created so much more music than I ever did before.

Your music has a very free-flowing, almost improvisational quality to it. You are your main influences both within and outside of electronic music – any particular writers, poets, painters or musicians?

It’s nice to hear that you notice that. I used to be inspired by music within the electronic dance music genre. But more and more I’m enjoying to start with a completely clean slate. Wake up in the morning and hit the coffee maker. Do a quick beat and jam on the euro rack and dub things through my tape delays and spring reverbs. I often ending up doing takes that are 2, 3, 4 minutes long. Maybe it only loops once or twice during the whole track. It’s actually a bit contradictory since loopy, distinct stuff is what matters on the floor. But this is just how I do, I guess.

But I can’t hide that I’m very influenced by the scrappy stripped sound of older dub cuts. The simplicity and rawness of stripping everything down to just the beat, and let the musical parts just come in once in a while drowned in space echoes, phasers and reverbs. Just on and on and on. No hooks no nothing. It’s like meditation, you know.

You run two record labels: Dirty Hands and 10YEARS. Tell us about what for you the positive and minus factors of doing so are in 2019?

My labels gives me the security of being able to do exactly what I want. The minus is that if I do exactly what I want, there’s no filter between my brain and the rest of the world.

To make sure to stand out of the ocean of new labels during past years, one trick was to give your music out on vinyl to show that at least someone believe in the music on the record. When everyone adapt to that concept, the vinyl sales drops of course. Despite that, 10YEARS will remain as an outpost for mine and Maya’s (Parallax Deep) more minimal sounding productions, which fits good for the vinyl format in my opinion. Dirty Hands works more like an umbrella for all my creative ideas. Besides the vinyl’s I’ll keep on doing label parties, mix tape cassettes, clothes and stuff. There is no limitation really.

Talk us through a typical working day (or night) in your studio. How has the space evolved, and do you have one keyboard or instrument which you couldn’t live without?

I like to hit the studio as early as possible. My productivity window is between 10:00 and 14:00. I often work in bursts of a few hours. Long sessions and tired ears is not for me. I have a few things that I literally can’t be without. The Roland RE-301, Fender spring reverbs and my tape recorders for example. My two cases of euro rack modules would also be hard to live without these days.

What does DJ’ing mean for you? What do you seek to convey to people when you play?

I’m not trying to say something with the music I play in my DJ sets. It’s instrumental rhythms with a bass on it. It’s made for dancing. And if it trigger a feeling in someone on the floor, it’s something personal I think. Everyone has their own angle to the music, and I think it’s nice to leave it like that. It’s not complex art or something.

To me it’s a pleasure to work around people that just want to let go of everyday life for a minute and just enjoy. And it’s a huge honor to be able to play my own productions and get feedback in return from the crowd that I can use in the studio.

And finally. Tell us about your forthcoming plans for the future?

2019 is busy! First up is mine and Rossko’s”Conscious EP”, which drops on Infuse March 29th. Three tracker 12”.

In April, me and Malin Génie will drop the first EP in our new collaboration series,”Scania EP” on Malin Génie Music. Our next record will drop later this summer.

Later in the spring there will be a new 10YEARS record, 10YEARS12. It’s a 12” split with me and Parallax Deep called “Trim/External”.

After that I’ll drop a track called Short Waves on the London label Planetary Notions, a 12” V/A in May.

The a V/A track with Malin Génie on Berg Audio in June.

And finally there will be new Dirty Hands record. This time from Edvin Wikner and his track,”Skritt”. Comes with a remix from me and Rowlanz. More info about that soon!

Keep up with Per Hammar on Facebook, Soundcloud and Resident Advisor

Rossko & Per Hammar’s Conscious EP is out 29/03 via Infuse

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Reviews: 182

planetStellar Wind/ DSC
‘Lovers Fall’ EP
Planetary Notions

This is a killer release, hopefully by anyone’s standards. Two tracks plus two artists grace the pages with Search The Skies from Stellar Wind opening care of a succession of beautifully succinct beats alongside a series of percussive keyboard and drum flourishes on this excellent, no compromise composition. DSC’s Lovers Fall happens next with a more introspective collection of pulsating keys and haunting vocal lines dancing in-between all that rich, powerful atmosphere. This is only the label’s third release yet with music of this quality you get the sense that quality-control is much more than just a byword.

Release: October 6
https://www.facebook.com/PlanetaryNotions
https://twitter.com/p_notions

Pre order: http://www.juno.co.uk/products/stellar-wind-dsc-search-the-skies/624675-01/

johnJohn Foxx
The Complete Cathedral Oceans
Edsel records

Celebrating:  Cathedral Oceans (1997), Cathedral Oceans II (2003) and Cathedral Oceans III (2005) this collection of all three albums now neatly converges into the one single definitive release. The inescapable word defining this shape-shifting landscape of sounds has to be ethereal. Or possibly heavenly – which on first glance seems all the more apt. I find music like this reaches into your soul altering your reactions as it probes and produces a never-ending shift of emotions. Ambient is the easy/ obvious word to describe the atmospheric rushes of sounds which come and go across the synthesized generations of both keyboards and holy voices here. Almost timeless, in the way that only electronic music of this nature along with, say, Classical is. However, in a sense it’s pointless my describing piece by piece the defining qualities of the track-list as each album breathes a fresh sense of occasion into the previous incarnation. It is an inescapably, wondrous journey through the sights and sounds of John Foxx’s imagination which ultimately transcends the timeline between then and now, and optimistically into the beyond. Play this at your exalted leisure.

Release: September 30
http://www.metamatic.com

buy: https://johnfoxx.tmstor.es/ 

Buy: https://www.amazon.co.uk/Complete-Cathedral-Oceans-VINYL/dp/B01HYJL8UA/ref=sr_1_1?ie=UTF8&qid=1468232801&sr=8-1&keywords=5014797894716

ELY
The Neck
taMe Music

Lifted from their new album, ‘EP1’ this simmering, brooding, sometimes dangerous feeling production tears at the fabric of your soul, while creating all sorts of new possibilities in the process. I love its meandering evolution of percussive and synthesized rhythms that leave you guessing as to what might occur next. That, plus the contrasting gentle ambience created by the background of voices appearing occasionally. The arrangement is a high-octane concoction primed for the dancefloor and indeed this must sound epic across the right sound-system. All sorts of influences going on in here too while creating their own definite sound means you’ve got to applaud this. Two versions available, with the aforementioned Tunnel mix plus the slightly deceptive Ambient Mood version which alters the grooves yet still packs a heavy-weight emotional punch.

https://www.facebook.com/elycollective

http://www.tamemusic.com

Dinky
Valor
Crosstown Rebels

Achieving a sixth artist album makes for quite an achievement in these days of impermanence. And producing an album’s worth of this quality is more than testament of any artists’ ability and consequentially worth. In abundance then Valor (which translates as courage in Spanish) begins with the emotionally drenched, Acid punctuated ‘Casa’ and ends up at the soulfully charged, Wakame. Love the fact that neither melody or musicality are ignored here while remaining resolutely fresh in terms of combining sounds with more traditional ideas and notions of arranging music to reach its fullest potential i.e. conveying a connection to you the listener. In-between the start and finish Dinky explores the technological edges in ‘Cut’ through to the more joyous revelations of, Milk. All in all Valor plays for an invigorating, life-affirming listen and long may that continue.

Release: September 30
Buy link hyperurl.co/j8ub2p

http://www.dinkyland.org

mb054packshotTheo Kottis
It Wasn’t Meant To Be / Running Home
Moda Black

The first thing that really strikes you about ‘It Wasn’t Meant To Be’ is just how much you miss Strings, as in those emotive, heart-wrenching lines which feel like nothing else. Theo Kottis then twists the emotional resonance up a notch with the additional of its commanding basslines, rousing vocals, and punctuating organ hits. And.Id deliver two equally first-rate versions with their Rave Nostalgia Remix again hitting those strings with reverence alongside commanding piano plus a rounder bass sound to exalt the tracks potential fully. An excellent stripped down Dub follows, with the second original composition ‘Running Nowhere’ combining fresh soundscapes in the shape of shimmering synthesizers and expansive pads accompanied by chiming keys for heightened tension.

Release: October 7
http://theokottis.com

https://www.facebook.com/thisismodablack

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