Supported by Damsel Elysium.

An exclusive musical performance by Bendik Giske, the Berlin-based Norwegian musician who expresses physicality, vulnerability and endurance through the saxophone.

The body is important for Giske. Not just in the strength and muscle control required to accomplish circular breathing on the saxophone, an unusual technique he employs to mesmerizing effect. It’s also reflected in the tradition of dance, which he practiced as a child in Bali – splitting his time between Oslo with his artist parents – and has enjoyed as part of an electronic music epiphany in his adopted hometown of Berlin. The corporal is implied too in his sense of queerness, helping him create his own sound, blossoming luxuriantly not only on record but also in his striking, embodied performances. 

Giske has likened his work to transmuting electronic music through all his human faults, akin to becoming a machine. With his second album Cracks he introduces a new set of parameters for the automated processes of his muscle memory to work against.