On the occasion of the release of her ep AFTRYK on Contort, we asked a few questions to the mysterious SØS Gunver Ryberg.

- You were performer before and started as a musician by doing field recordings. Do you think a record is the best way to present your music?

I have been focussed on the ephemeral expression of music through installations, concerts, site specific multichannel pieces etc. I reached a point where I felt releasing was important as a next step. It’s important for me to express my music in various ways.

- Do you consider differently the music you produce for performances and for a record? Do you have a different approach or process for each of them?

Most elements which are now on AFTRYK I created for my live sets only Pantodont was created as a track for the record. I produce new material for each of my performances as much as possible. In the performance I work with these new elements. From my experience performing with all theses various elements I get a feel for the flow and new ideas of how to create various material into a track.

I also compose a track with the mindset of it being a track but most often I end up bringing the different elements of the track into my live set to continue my work. In that way I keep the process between performance and record open and merged. I hear it on big sound systems and have fun live. When I decide to finish it into a record, I already have experiences with the material. Often I perform parts of the material in the studio besides the extreme detail work I do in the studio.

I’m also up for a process of composing a record without having this process before. Let’s see...

- Did your process for making music evolve with the time?

I feel my process is envolving all the time. New technology appears, new gear comes into my studio.... all this effects in some way my process. Working with the KYMA system and getting deeper with this is a complete transformation. I as a person change too. The process has to be very dynamic. It’s is super important to me. I’m curious to learn and challenge myself.

- You started with computers since the beginning, are you interested in other instruments?

Besides machines and objects producing sounds I’m also fascinated by different traditional instruments e.g. used in gamelan music or shamanistic instruments from South Korea. I bought some shamanistic instruments when I travelled there but I can’t play these instruments for real or any other instruments. I wanted to go deeper and experience the Korean Shamanistic music live. I​t’s the energy in this music that I feel connected too. I’m very interested in the polyrhythms, texture density, high intensity and timbres.




- You're really into sound experimentation. Is making people dance something you care about?

I really love when I see or friends afterwards tell me how they or someone else was doing free style wicked expressive dance. I do believe it’s important to engage with music through the body. To explore the music through movement. It’s not a goal for me to have people dancing. I actually don’t expect anything when I perform as I want it to be something that happens naturally in the moment. Each audience is different. I experience people do both listening and dancing when I perform.

- You played in a lot of different venues, do you like playing in a club? What would be the best place to listen to your ep according to you?

I very much enjoy clubs. The intense and dense atmosphere and a room of people dedicated to listen and go deep with the music is very special. The sound systems are mostly excellent.
I hope you will listen to the EP both at home and at a massive sound systems. I feel that AFTRYK transforms depending on the context I listen to it in.

- Since your references must be quite different from the artists we are used to interview, who are your gurus in terms of sound/music?

SO many has inspired me. Shaman Kim Seok­Chul’s music and the Kim Seok­Chul ensemble has been one of many consciousness opening experiences.

- What are your upcoming projects?

Besides my own performances around and hopefully some different commissions I have been asked about. I’ll hopefully get to work on my next release. I have a theater performance in Denmark in the Spring. I’ll be on stage as a performer again and also doing the sound/music. The ensemble is working extremely unconventional and is challenging the established theaters we are p​erforming at. We are staging “Story of the Eye” by Georges Batailles which are exploring such subjects as e​roticism,​ mysticism,​s​urrealism,​and t​ransgression.​I’m also looking forward to the release of the video game “INSIDE”.




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