218 Hate Podcast with Evigt Mörker
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The unsettling terrain of Evigt Mörker's world can be broken up into a few frenetic parts that give the overall impression of a serene habitat. There's the otherworldly foreground of his techno works that are blissfully psychedelic as well as carefully structured for the most subtly disorientating shifts, and hovering amongst this is his wholesome grasp on the purpose and consequence of melody. Together, this is Evigt Mörker's deadly and addictive mix.
Hailing from Sweden, some initial forays into bands in his youth went hand-in-hand with an early exposure to techno. Yet it was the illegal rave scene in Stockholm that would prove to be most formative. The circuit of DJing and parties soon fed into the need to create a platform from which to work, and so the identity and label Evigt Mörker came into being in 2013. The first three releases cemented Evigt Mörker's ability to rouse melodic dynamics out of an ambient setting. Whether settling and fixating on a rhythmic pattern, or shuffling through different emotions, often these tracks would career into rapturous dancefloor pieces. It didn't take long until the formidable Semantica Records tapped him for a release, which produced the stunning EP, 'Helmet of Bones.' From this point, Evigt Mörker would come under the austere wing of Northern Electronics. Two terse yet incandescent EPs, along with a fourth release on his own label, have charged the air for his debut album, 'Krona'. Appearing on Northern Electronics, a brooding intensity defines the album, as well as a technical dexterity for carving dissonance into lush techno tools.
For those that have witnessed Evigt Mörker live or as DJ, a different side to his recorded output comes into play. Often far more forceful than his releases, there's an energetic and rhythmic power reserved for these moments. It's perhaps this versatility that's kept him in such high demand as a remixer. Taken to the other end of the spectrum, Evigt Mörker's live shows are capable of elegant ambient pieces, if holding a dancefloor down isn't the modus operandi.
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