Nothing left but silence
Erik K Skodvin
Nothing left but silence
Boomkat Product Review:
Deaf Center co-founder and key Scandi ambient artist Erik Skodvin dims the lights on his quietest and arguably strongest solo album in years - RIYL early The Caretaker, Deathprod, Kreng, Korea Undok Group
Erik K Skodvin’s music has always been defined by its play of light/dark, yet the negative space has rarely consumed his music as much as in ‘Nothing left but silence’. Following from his ‘Schächten’ (2022) LP and this year’s ‘Devolving Trust’ under the cloak of Svarte Greiner, he really amplifies the background noise and allows only the finest glimpses of gently reverberating guitar to light the way. Its a logical extension of his musick’s nuance, prising a portal to the peripheries where flickering shadows and apparitions of the subconscious lurk.
“'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.
Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.
Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.”
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Boomkat Product Review:
Deaf Center co-founder and key Scandi ambient artist Erik Skodvin dims the lights on his quietest and arguably strongest solo album in years - RIYL early The Caretaker, Deathprod, Kreng, Korea Undok Group
Erik K Skodvin’s music has always been defined by its play of light/dark, yet the negative space has rarely consumed his music as much as in ‘Nothing left but silence’. Following from his ‘Schächten’ (2022) LP and this year’s ‘Devolving Trust’ under the cloak of Svarte Greiner, he really amplifies the background noise and allows only the finest glimpses of gently reverberating guitar to light the way. Its a logical extension of his musick’s nuance, prising a portal to the peripheries where flickering shadows and apparitions of the subconscious lurk.
“'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.
Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.
Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.”
Boomkat Product Review:
Deaf Center co-founder and key Scandi ambient artist Erik Skodvin dims the lights on his quietest and arguably strongest solo album in years - RIYL early The Caretaker, Deathprod, Kreng, Korea Undok Group
Erik K Skodvin’s music has always been defined by its play of light/dark, yet the negative space has rarely consumed his music as much as in ‘Nothing left but silence’. Following from his ‘Schächten’ (2022) LP and this year’s ‘Devolving Trust’ under the cloak of Svarte Greiner, he really amplifies the background noise and allows only the finest glimpses of gently reverberating guitar to light the way. Its a logical extension of his musick’s nuance, prising a portal to the peripheries where flickering shadows and apparitions of the subconscious lurk.
“'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.
Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.
Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.”
Boomkat Product Review:
Deaf Center co-founder and key Scandi ambient artist Erik Skodvin dims the lights on his quietest and arguably strongest solo album in years - RIYL early The Caretaker, Deathprod, Kreng, Korea Undok Group
Erik K Skodvin’s music has always been defined by its play of light/dark, yet the negative space has rarely consumed his music as much as in ‘Nothing left but silence’. Following from his ‘Schächten’ (2022) LP and this year’s ‘Devolving Trust’ under the cloak of Svarte Greiner, he really amplifies the background noise and allows only the finest glimpses of gently reverberating guitar to light the way. Its a logical extension of his musick’s nuance, prising a portal to the peripheries where flickering shadows and apparitions of the subconscious lurk.
“'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.
Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.
Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.”
Edition of 300 copies, handmade textile artwork, printed inner sleeve
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Deaf Center co-founder and key Scandi ambient artist Erik Skodvin dims the lights on his quietest and arguably strongest solo album in years - RIYL early The Caretaker, Deathprod, Kreng, Korea Undok Group
Erik K Skodvin’s music has always been defined by its play of light/dark, yet the negative space has rarely consumed his music as much as in ‘Nothing left but silence’. Following from his ‘Schächten’ (2022) LP and this year’s ‘Devolving Trust’ under the cloak of Svarte Greiner, he really amplifies the background noise and allows only the finest glimpses of gently reverberating guitar to light the way. Its a logical extension of his musick’s nuance, prising a portal to the peripheries where flickering shadows and apparitions of the subconscious lurk.
“'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.
Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.
Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.”
Edition of 150 copies, handmade textile artwork
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Deaf Center co-founder and key Scandi ambient artist Erik Skodvin dims the lights on his quietest and arguably strongest solo album in years - RIYL early The Caretaker, Deathprod, Kreng, Korea Undok Group
Erik K Skodvin’s music has always been defined by its play of light/dark, yet the negative space has rarely consumed his music as much as in ‘Nothing left but silence’. Following from his ‘Schächten’ (2022) LP and this year’s ‘Devolving Trust’ under the cloak of Svarte Greiner, he really amplifies the background noise and allows only the finest glimpses of gently reverberating guitar to light the way. Its a logical extension of his musick’s nuance, prising a portal to the peripheries where flickering shadows and apparitions of the subconscious lurk.
“'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.
Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.
Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.”
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