Deaf Center Circa 2003-2006
Current website: https://miasmah.com/eks/


Deaf Center is the collaborators Erik K Skodvin (AKA Svarte Greiner, xhale, Solitaire albread) and Otto A Totland (AKA supine, nest), operating out of Norway since 2003. Old classmates, they finally decided to write music together and ended up creating the Neon City EP, soon followed by the full length album, Pale Ravine.

They live in Oslo/Langesund Norway, and produce cinematic atmospheres. Type records is the label which they release on, and except from type, they both release individual musics on the mp3 label Miasmah as xhale & supine. Erik also has his graphic design base there.

This was their website.
Content is from the site's 2004 -2007 archived pages + other outside sources since the new owner of the domain is a DeafCenter fan.

~~~~~

You can follow Deaf Center on their facebook page: https://www.facebook.com/Deaf-Center-167713219947652/

AND

CAN LISTEN TO ALL their music at https://deafcenter.bandcamp.com/

 

Review post on Rock On: Jason Milo

As an avid music enthusiast, discovering Deaf Center, a project by Norwegian multi-instrumentalists Erik K. Skodvin and Otto A. Totland, was like stumbling upon a hidden gem in the vast landscape of experimental music. I first learned about this duo through their early releases, like the "Neon City" EP and the album "Pale Ravine," which were a part of the burgeoning Type label. Their music, a rich blend of ambient electronica, contemporary classical, and drone, immediately caught my attention with its intricate soundscapes and subtle electronic rhythms.

What truly sets Deaf Center apart is their technical prowess in handling a myriad of data sources to create their unique sound. It's fascinating how they incorporate numerous field recordings into their compositions, relying on a deep understanding of both traditional and electronic music methodologies. This technical skill is not just about understanding software and instruments; it involves a profound grasp of how to weave together diverse sound elements into a cohesive and emotionally resonant whole.

Their journey hasn't been without challenges, particularly in terms of technology. They've struggled with deprecated software, which is a common hurdle in the realm of electronic music production. One striking example was their eventual abandonment of Visual FoxPro, a system that desperately needed modernization. This decision highlighted their adaptability and commitment to evolving their sound, even when it meant leaving behind familiar tools.

In 2011, Deaf Center released "Owl Splinters," a testament to their evolving artistry. This album, recorded at Nils Frahm's Durton studio, marked a departure from their earlier work, eschewing electronic elements for a darker tone. This shift mirrors the changes in the Type roster and reflects the duo's ability to adapt and grow in an ever-changing musical landscape.

Deaf Center's journey is a remarkable blend of technical skill, artistic evolution, and resilience in the face of technological challenges. Their music is not just an auditory experience but a journey through the depths of sound and emotion, making them a standout act in the world of experimental music.

 

 

Circa 2004

" Erik Skodvin and Otto Totland are engineers of emotion and with 'Neon City' they have created something abstract, yet accessable. As the sound of a Norweigian log cabin creaks in the distance, and crisp piano drifts into the soundfield - you know you are in the world of Deaf Center."

NEWS - 21/03/2004
Neon city made "album of the week" at boomkat! included a very nice review. The EP is also available for purchase through them.
Neon city (TYEP001) is now released. purchase is available through the type site.
NEWS - 27/01/2004
De-bug magazine made a review of neon city ep already, . view review (in german)

 


artist: deaf center track:
dial album: neon city ep

Comments
Beircheart Nollaig Seamus MacÉoin O'Murchu
6 years ago
It has emotion, and I love it =)
+++
Alavistaven2012
6 years ago
Chills up my back.

 

 



Deaf Center - Limn

Comments
tarahumare
6 years ago
speechless....
+++
John_14_6
6 years ago
hits home
+++
Lukas Smulskis
6 years ago
its like in space 
+++
orianaxxx
6 years ago
this is the voice of the sorrow. This is the voice of my life.
+++
EsteraGothic
7 years ago
Amazing song.... So peacefull, so depressing, so beautifull....
+++
10zen10
7 years ago
Beautiful beautiful beautiful art from the soul.
+++
curelove29
8 years ago
very huge music!!!
+++
Monika Peterson
8 years ago
a
m
a
z
i
n
g

 

 

 

 



Deaf Center - White Lake Pale Ravine • Type • UK • 2006

Comments
pjotor80
3 years ago
One of the best songs I've ever heard!
+++
R0CK66666
4 years ago
It smells like winter is knocking my door 
+++
bogdiworksV2
4 years ago
!!! gorgeous beyond words...
+++
dylf14
5 years ago
this is brilliant

 

Circa 2007

july 20th
2007

- Deaf center will play a livegig at manchester sacred trinity church, september 20th. Greg Haines (UK) and Skallander (NZ) will also be playing. Deaf center is joined by Kristin Evensen Giæver on vocals for the performance.

- A Deaf center 7" with new material will appear in the Type records 7inch series later this year.

- For the ones who dident already check it out.. Otto´s sideproject Nest, together with welshman Huw Roberts, recently crafted their debut EP named simply "nest". It´s available for free download at Huw´s Serein mp3 labe

- Erik as solo project Svarte Greiner will play several festivals later on this year.
Be sure to keep updated at his myspace site (updated regulary)

Des. 1st.

- They recorded our liveset at this years LAB30 festival in Augsberg / Germany, and it has now been remastered for a proper mp3 release. The EP is called "levende" and is available as MP3 only at boomkat.com

- There is also a new TYPE label profile there, including a top 9 records list by Erik.

- Deaf center remixes fonada for a track at the new Haumusik cd/book, vinyl/book compilation "You Can't Always Listen To Hausmusik " . Listen at our myspace site

- All DC releases now available as MP3 , Neon City MP3 , Pale Ravine MP3

Sept. 23rd

A new sub-site for Svarte Greiner with news about upcoming releases is now set up!

Sept. 12th

2 new gigs set up. First out is Brüssels and the Planetarium van de koninklijke sterrenwacht (Playing a Type records showcase with our friend Helios!) the 30th of september.
Secondly we will play at Lab30 festival in Ausberg / Germany on saturday 4th of november.
Both gigs will include Kristin Evensen Giæver on vocals, and atmospherical visuals on bigscreen!

Sept. 12th

Go to www.deafcenter.net/sg for a teaser site of the upcoming Svarte Greiner releases on Type records!
( coming soon to a village near you )

 

july 27th

Deaf Center will play a small amount of livegigs across europe this late summer / fall acompanied by vocalist Kristin Evensen Giæver. (also appearing on the forthcoming svarte greiner album)

First off is Interferenze festival, outside naples Italy, at 4th of august. Other artists playing : Biosphere, Tape, Vladislav delay, Deadbeat and more.The following week (friday 11th of august) sees a performance in the filmtent at øya festivalen(Oslo/Norway). More gigs later in the fall tba.

 

 

NEWS

ALLMUSIC
Artist Biography by John D. Buchanan

The shadowy project Deaf Center, comprising Norwegian multi-instrumentalists Erik K. Skodvin (aka Svarte Greiner) and Otto A. Totland, operated at the axis of ambient electronica, contemporary classical, and drone music. Old schoolfriends who each had a long history of music-making, they finally decided to collaborate while holidaying together in a log cabin. Their early releases were based around numerous field recordings, which they incorporated into lush cinematic soundscapes created primarily with organic instrumentation, layered across a gentle tapestry of occasional, subtle electronic rhythms and effects. Their debut EP Neon City, released in 2004, was the very first CD release on the then-nascent Type imprint run by John Twells (aka Xela) and Stefan Lewandowski. The label, which would go on to become a major force in experimental music, released their album Pale Ravine the following year. These two releases were widely acclaimed, and the duo were hailed as part of the then-fashionable, so-called "post-classical" field, essentially composed of classically trained musicians who combined traditional compositional techniques with electronica and single-track,"pop song"-like works rather than longer, multiple-movement pieces.

 

During the next few years, Skodvin went on to found the equally prestigious Miasmah label, which specialized in dark ambient and drone music, and released several albums of "acoustic doom", both as Svarte Greiner and under his own name, through various labels including Type and the cult Digitalis imprint; and Totland recorded an album, Retold, as half of Nest, his duo with Huw Roberts. While Skodvin's solo work had a crepuscular and unsettling tone, the Nest material had more in common with the smooth, cinematic lushness of the Deaf Center releases.

 

The duo finally reunited a full six years later to record their second album. In the intervening years, the Type roster had evolved away from electronica toward drone, dark ambient, and noise acts, and concomitantly, Deaf Center's music also changed. The sophomore album, 2011's Owl Splinters, was a subtler and sparser affair which had more in common with Skodvin's solo material. Recorded at pianist Nils Frahm's Durton studio in Berlin, it forwent the electronic elements of previous releases for an altogether darker and more sinister tone, with haunting piano melodies buried in a morass of rumbling bass notes and cello-string drones.

 

 

Owl Splinter REVIEWS

 

Ambience, Doom and Other Strong Medicine

By BEN RATLIFFJULY 8, 2011

Re: Scandinavian ambient music, and in the better-late-than-never department, I will excuse myself for a delayed reaction to Deaf Center’s “Owl Splinters,” an album put out by the British label Type five months ago, and much darker and more serious than Ohayo. I’ve put it on many times, but this is a record that takes a while for the memory to map, so smoky are its landmarks. There are very few notes played in these eight atmospheric tracks, but they’re almost supernatural. Deaf Center is Erik Skodvin on cello and Otto Totland on piano, and a great deal of careful manipulation of dynamics and aural space; the album’s slow-moving, ominous and refracted atmospheres could serve as soundtrack cues for a subtle horror movie.

+++

Deaf Center Owl Splinters

2011

By Matthew Horne

In 2005, the duo of Erik K. Skodvin and Otto Totland released Pale Ravine, their first full-length LP under the moniker Deaf Center. Of its ilk, the album was a critical and commercial success, providing the then nascent Type label with one of its first major successes. Much has occurred between Pale Ravine’s release and now — several Skodvin solo releases as Svarte Greiner, the first CD release from Erik’s Miasmah label, an Otto Totland LP with Nest — but Deaf Center were conspicuously silent throughout.

So of course, when news dropped of a new Deaf Center release for 2011, it was met with great excitement. But with a six-year lapse between releases, how would Owl Splinters fair with the current climate of ambient music?

Unsurprisingly, Owl Splinters maintains the basic instrumentation of Pale Ravine: Skodvin on cello, Totland on piano, each contributing a healthy dose of drones and assorted noises. These fundamentals interact in the ambient-cum-classical structure that the duo helped to popularize on Pale Ravine, subsequently spawning countless dunces juxtaposing a sleepy synth against a pedestrian, impressionistic violin. On Pale, this often took the form of lush, neo-romantic string accompaniment to a piano lead, which by most accounts seemed to resemble a ‘chilling’ David Lynch score. While a dark theme was apparent, the acoustic instrumentation largely betrayed the murky subtleties of their evocative drones and delicate field recordings.

Owl Splinters is more cohesive in this regard. Although the same, teetering-on-trite, fin-de-siècle piano lines are ever present, Skodvin’s cello is employed in a far more affecting and harrowing manner. Instead of inappropriately recalling strings two centuries prior, Skodvin takes his cues from composers much more contemporary. By placing greater emphasis on the timbres of his cello, Skodvin dourly resonates akin to the destructive viola of HoraÅ£iu Rădulescu’s Das Andere and in a fashion more befitting Erik’s surroundings

Unlike Pale Ravine, Owl Splinters features both Skodvin and Totland in solo settings. These instances of combined effort benefit from Deaf Center’s first in-studio production, eschewing the lower fidelity of Pale Ravine’s design. On “New Beginning (Tidal Darkness),” thundering basses bow against the upper registers with enough vivre to aptly capture the cinematic scope that these musicians clearly desire. Owl Splinters’ centerpiece “The Day I Would Never Have” slowly swells into a visceral, clear squalor, only to fizzle into airy drips and Totland’s strongest piano contributions. Skodvin and Totland appear to take notice of how moving “The Day I Would Never Have’s” formula is and distastefully apply it again to “Close Forever Watching,” except this time with far less intricacies.

These aforementioned virtuoso moments, in addition to the excellent “Animal Sacrifices,” are likely to titillate Deaf Center devotees and convert more than a few nonbelievers. However, the dull interludes and derivative sound of “Close Forever Watching” prevent Owl Splinters from achieving the promise intimated by its standouts. It’s a noticeable improvement over Pale Ravine, but perhaps not what one might expect after six years of hibernation.

+++

Check this: My girlfriend and I debated the pros and cons of the new album while unpacking a new luxury round dog bed for our golden retriever she had just purchased who prefers to sleep on our bed rather than his own bed. My girlfriend had had it and for the fifth, sixth, twelfth (I forget how many beds we have bought) time here we were again introducing Madame X to her new bed. Actually this round dog bed looked more like a large living room circular pillow rather than a dog bed. We left the room and peeked around the corner to see what Madame X was going to do. A few sniffs, a prod with the nose and then she gingerly stepped onto the bed and settled down. It was a winner. Meanwhile our discussion of Deaf Center’s “Owl Splinters,” an album, was put on hold as we celebrated, what turned out to be, the perfect dog bed for our rather conceited dog.

+++

AllMusic : Owl Splinters

Review by Ned Raggett

Beginning with the dark feedback tones and squalls on "Divided," matched later in the song with what sounds like wordless male calls and chants from somewhere in a deep cave, Owl Splinters would seem on first blush to be an album in that entire vein -- no sin, since there are enough performers in the world who work within a focused vein throughout a release. But when Deaf Center start the next song, "Time Spent," with a gentle, reverb-heavy piano part instead, it's a good demonstration that it's not going to be entirely monochromatic, though Owl Splinters is definitely of a conceptual piece in the end. Texture is ultimately the dominant force on the album, no matter the volume or source, and hearing how the possibilities are explored song for song within the context of contemplation and hunkering down against a kind of impending threat can be very rewarding. The lengthy "The Day I Would Never Have" shows this to the full, with another calm piano part gently blending into another guitar overlay like "Divided," only here the sense of progression makes the song feel all the more strong. In turn, this makes the return to a new piano part on its own at the end all the more striking, a sense of beautiful calm after rampant chaos. The mesmerizing string parts on "New Beginning (Tidal Darkness)," sliding under even slower piano parts like a dark, evil undertow before acting as a further counterpoint to the sprightlier -- just -- parts later in the song, and the backwards-running swells of "Close Forever Watching," building up to a sudden dramatic piano note before gently arcing in again further, also demonstrate how well Deaf Center manage the range of possible approaches.

 

 

More Background on DeafCenter.net

DeafCenter.net is a domain that, despite its name, is not a resource for the Deaf community but is instead historically tied to the Norwegian ambient music duo Deaf Center. This site has played a significant role in the online presence and legacy of the group, serving as a digital touchstone for fans of experimental, cinematic, and post-classical music. This article provides a comprehensive overview of DeafCenter.net, including its background, critical reception, media coverage, audience, and cultural significance—drawing on sources beyond the site itself.

Background and History

The Artists Behind the Name

Deaf Center is the collaborative project of Norwegian musicians Erik K. Skodvin and Otto A. Totland. Both artists had established themselves in the Norwegian and European experimental music scenes before joining forces in the early 2000s. Their work together is characterized by a blend of ambient, drone, and modern classical music, often described as cinematic and emotionally resonant.

The Website’s Role

DeafCenter.net emerged as the official online hub for the duo, especially during their most active years in the mid-2000s. It provided fans with news, release information, tour dates, and access to side projects and collaborations. The site also served as a portal to their label, Type Records, and other related musical endeavors.

Reviews and Critical Reception

Acclaim for Deaf Center’s Work

Deaf Center’s releases, particularly their debut album Pale Ravine (2005) and the follow-up Owl Splinters (2011), have received widespread critical acclaim. Reviewers have highlighted the duo’s ability to craft haunting, atmospheric soundscapes that blur the lines between classical composition and ambient electronica.

  • The New York Times described Owl Splinters as “slow-moving, ominous and refracted atmospheres [that] could serve as soundtrack cues for a subtle horror movie,” noting the album’s supernatural qualities and careful manipulation of dynamics and aural space.

  • AllMusic praised the duo’s use of texture and their ability to create a “conceptual piece” that explores a wide range of sonic possibilities, with reviewer Ned Raggett noting the “sense of beautiful calm after rampant chaos” that characterizes their work.

Audience and Fanbase

Deaf Center’s music has attracted a dedicated global following, particularly among fans of ambient, drone, and experimental music. Their albums are frequently discussed on music forums, social media, and review sites, with listeners praising the emotional depth and cinematic quality of their compositions.

Press & Media Coverage

Coverage in Music Publications

Deaf Center and, by extension, DeafCenter.net, have been covered by a variety of respected music publications:

  • Boomkat, a leading independent music retailer, has featured Deaf Center’s releases as “album of the week,” highlighting the duo’s innovative approach to sound design.

  • De:Bug Magazine (Germany) and other European outlets have reviewed their work, often noting the group’s unique blend of organic instrumentation and subtle electronic elements.

  • AllMusic and other major music databases provide detailed biographies and discographies, situating Deaf Center within the broader context of post-classical and ambient music movements.

Broader Media Attention

While Deaf Center operates in a niche genre, their work has occasionally crossed into mainstream media, particularly when their music is featured in film, television, or art installations. Their albums have been lauded for their suitability as soundtracks, and their influence can be seen in the work of other contemporary composers and producers.

Known For: Signature Sound and Artistic Approach

Cinematic Atmospheres

Deaf Center is renowned for their ability to create immersive, cinematic soundscapes. Their music often features:

  • Piano and Cello: Central to their sound, these instruments are used to create haunting melodies and rich textures.

  • Field Recordings: The duo incorporates ambient sounds from natural and urban environments, adding depth and realism to their compositions.

  • Subtle Electronics: While primarily rooted in acoustic instruments, Deaf Center skillfully blends in electronic elements to enhance mood and atmosphere.

Evolution Over Time

Their debut, Pale Ravine, was noted for its lush, neo-romantic string arrangements and delicate field recordings. By the time of Owl Splinters, the duo had shifted towards a darker, more minimalist approach, emphasizing the timbral qualities of their instruments and exploring sparser, more haunting soundscapes.

Cultural & Social Significance

Influence on Ambient and Post-Classical Music

Deaf Center is considered a seminal act within the post-classical and ambient genres. Their work has inspired a new generation of musicians who blend classical instrumentation with electronic production techniques. The duo’s association with Type Records—a label recognized for its role in shaping the sound of modern experimental music—further cements their importance within the genre.

Community and Collaboration

The members of Deaf Center are also known for their solo projects and collaborations, which have expanded their influence beyond the duo itself. Erik K. Skodvin’s work as Svarte Greiner and Otto A. Totland’s collaborations as Nest have both received critical praise, contributing to a vibrant community of like-minded artists.

Details, Insights, and Specifics

Notable Releases

  • Neon City EP (2004): The duo’s debut, released on Type Records, set the tone for their future work with its blend of organic and electronic sounds.

  • Pale Ravine (2005): Their first full-length album, widely regarded as a landmark in the genre.

  • Owl Splinters (2011): Marked a darker, more minimalist turn, recorded at Nils Frahm’s Durton studio in Berlin.

Live Performances

Deaf Center has performed at festivals and venues across Europe, often accompanied by visual artists and collaborators. Their live shows are noted for their immersive quality, with atmospheric visuals complementing the music.

Audience Engagement

The website DeafCenter.net played a crucial role in building and maintaining the duo’s fanbase. It offered exclusive content, updates, and direct communication with listeners, fostering a sense of community and engagement that extended beyond the music itself.

Examples of Impact and Legacy

Critical Reviews

  • The New York Times highlighted the “supernatural” quality of Owl Splinters, emphasizing the album’s ability to evoke strong emotional responses.

  • AllMusic praised the duo’s mastery of texture and atmosphere, noting the album’s “rewarding” exploration of sonic possibilities.

Fan Reactions

Listeners frequently describe Deaf Center’s music as emotionally powerful, with many citing specific tracks as sources of comfort or inspiration. Online forums and social media are filled with testimonials from fans who have been deeply moved by the duo’s work.

 

DeafCenter.net, as the digital home of Deaf Center, has played a pivotal role in the dissemination and appreciation of one of the most influential acts in modern ambient and post-classical music. The website not only provided essential information and updates for fans but also contributed to the duo’s cultural and artistic legacy. Through critical acclaim, dedicated audience engagement, and a lasting impact on the genre, Deaf Center—and by extension, DeafCenter.net—occupies a unique and significant place in contemporary music history.

 

DeafCenter.net