Lisbent

Søren Duus Nielsen is the man behind Lisbent, a versatile electronic musician, always covering new ground and never holding back the fire. A completely autodidact producer, always just doing what he feels is right, and sometimes deliberately wrong, the most unifying theme in this work is the rave aesthetics of the early nineties mixed with a love for the experimental breakbeat work pioneered by UK artists in the late nineties.

His first overwhelmingly positive experience with electronic music was when his dad, who was then the sound engineer at a local theater, had had the privilege of buying a completely new PA setup at work and needed to test it out to get the EQ right. He needed some music to calibrate the system with, and went to the the local music shop and asked the clerk to give him something that filled out the frequency spectrum as much as possible without becoming noise and was promptly handed Thunderdome 5. It did the job but he did not understand the music at all, thought it sounded childish and gave it to his 10 year old son. Many hours of playing Doom 2 while listening to Thunderdome ensued, probably the most formative musical experience in the early life of young Søren.

Two years later Jungle music hit Copenhagen by way of the legendary raves held by DJ Nis, and Søren was instantly pulled in by the breakbeats, one of his favorite elements in the Dutch Gabber music, and the unique massive UK bass. This is the second big formative experience.

More years went by and music programs on tv taught him about Aphex Twin, Squarepusher, Autechre, Boards of Canada and all that. Fellow weed heads and such taught him about Wu-Tang, Non Phixion, Necro and Kool Keith. Warhammer and Magic Cards thought him about Metallica, Slayer, Mayhem and Burzum. The roleplaying circuit also introduced him to DJ Hvad for the first time, who tricked him into trading some high profile Magic Cards in his collection for some fake double mana’s Hvad had photocopied. None of them knew at that time that they would become colleagues and good friends many years later.

This is when the idea of making Hip Hop emerged in the young mans mind. For many years this was the primary pursuit in music, supplying different MC’s and crews in Copenhagen with beats to spit on, always staying true to the early sound of his idol in that matter, RZA. Getting intimate with his music software of choice in this way, suddenly electronic music came back to him full force and he abandoned the peripheral hip-hop scene he had been associated with and started devoting his time to exploring the high energy parody Jungle music being explored by UK artists such as Aphex Twin and Squarepusher at the time. Not hearing the joke, and always taking it seriously, the style became second nature to him as a result of several thousands of hours of cutting breakbeats.

At some point Venetian Snares and the rest of the Breakcore scene started influencing him, this was around the time he was approached by illphabetik about releasing tracks on their website, which he did for many years. Somewhere along there he picked up a profound love of the TB-303 by way of the old-school Chicago House sound. Around this time he was also initiated into the mysteries of adult clubbing, both on stage and on the floor.

At some point he was approached by DJ Hvad about being a part of his new record label Syg Nok Recordings, for a long time having been a little disappointed with the level of ambition present in the illphabetik camp, and seeing fresh opportunity he promptly joined Syg Nok. In the years at Syg Nok he has changed the software for hardware, been part of the Game Boy Breakcore outfit Mobb Beep together with Hannibal Andersen and acquired at least a handful of new styles to call his own, from Psytrance to Ghettotech to Hardtek and Kuduro.

But now a new chapter is being written here at clang, this classic quote of Pinhead seems apt: “such sights and sounds we have to show you! We will rip your soul apart!”