Daniel Savio, the maître d’art, the Jean-Jacques Perrey of Zinkensdamm, closes the shutters and turns off the radio. The Grey Rain of Sweden trickling down outside – once the nostalgic subject for Swedish songstress Doris – is now increasingly sulphuric and acid. Where it drips to the ground, pandemic chytrid fungus suddenly hits, killing an unsuspecting amphibian. Domestic cats prey on billions of birds. Buildings explode in Homs. And meanwhile at Ultra, a DJ appears.
In 2012 the news are worse than ever. Yet among the last of the non-detuned hardware synths available to man, Daniel Savio remains restless and full of artistic zeal. From the sometimes-open window of his studio apartment in Stockholm, a humming and hissing sound brings the promise of spring. Indoors, the air lies thick with sequences reminiscent of turn of the century Flipmode Squad and some of the coldest waves to ever have spread from the Arctic Circle. All from the mind of what his management team and label still consider the third original member of Kraftwerk.
With the coupling of Sweden’s most beloved synth wizard, a Norwegian fast-forward thinking label and a Finnish mastering team – the release of Daniel Savio’s self titled, third album is a Pan-Scandinavian cultural event. With two critically acclaimed solo albums already behind him, Daniel Savio has grown a reputation as perhaps the finest, most mind shocking electronic beatmaker to come out of the Nordic countries. Widely regarded as the inventor of skweee music (as in “squeezing” as much as possible from lo-fi instruments), Daniel’s music continues to find paths beyond conventional hip hop arrangements. Leaving his laptop at home, his worldwide touring is an all-hardware, highly flexible live set – typically featuring brand new material.