“I sort of see my music as a soundtrack for the listener’s life,” says Hamburg-raised, Berlin-based musician RIP Swirl ahead of his upcoming release Perfectly Blue. It’s true that I recently reached for the project on a packed shuttle back from a festival: memories of euphoric dancefloors and locked eyes mingled with the project’s vortex-like guitar riffs, as messages slowly trickled into my phone. Mind full and stomach empty, Perfectly Blue captured that moment pretty well.
There’s definitely something nostalgic about RIP’s music. Hazy yet deeply emotive, the project’s grungy, shoegaze-inspired soundscapes seem firmly geared towards inducing a state of reverie. Featuring exclusively female vocals, and for the most part non-verbal, hints of Mazzy Star and early Massive Attack float through this upcoming release. Concealed beneath, however, are crisp kicks and elegant synths that betray RIP Swirl’s extensive experience on the Berlin underground circuit.
It was in Berlin that Swirl first made his name as a DJ and producer, his early releases on cult label Public Possession offered a meditative mix of house, techno and ambient. Then everything changed with the pandemic. Turning away from the digital realm, Swirl began a return to his more instrumental roots, channelling the influences that first led him towards music and playing in bands as a teenager. His debut full-length LP, Blurry, arrived in 2022 and placed his guitar – looped, layed, reversed and more – centre-stage. Perfectly Blue releases on October 17th and continues this journey.
Below, Dazed speaks to RIP Swirl about his return to traditional instruments, the inspirations behind this latest project and why he loves the Dazed & Confused soundtrack.
How did you settle on the name Perfectly Blue?
RIP Swirl: I wasn’t feeling my happiest when making this album, but at the same time I felt like our society has this enormous pressure to feel happy all the time – which is sooner or later going to drive you crazy. Just being content with feeling blue once in a while and maybe even embracing it, channelling it into something productive, like this record.
You first cropped up as a DJ and producer on the Berlin underground scene before transitioning into something a bit more gentle and solitary on your debut project Blurry. How would you describe this journey?
RIP Swirl: It was not a conscious decision and I was always making all kinds of different music but Berlin is of course known for its electronic music scene and when I moved there I somehow felt drawn to be part of it. Rather than just being a spectator I like to be part of it, whether that be throwing parties with my friends or the early releases on Public Possession – I just went with what felt cool at the time. The music was sort of the soundtrack to my life in Berlin and so when the pandemic hit it seemed like the perfect time to end that chapter and move on to something else. For me, that was going back to my roots and focusing more on playing traditional instruments since I grew up playing in all kinds of bands like the jazz band at school or my first metal band as a teenager.
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“The only problem I always had with digital was its lack of limitation. Once I started collecting outboard gear and had a bunch of synths and amps I realised I’d much rather use that as my sonic palette and limit myself to what’s in my room”
- RIP Swirl
This project feels more shoegaze/slowcore than Blurry’s slightly more electronic-dance sonic palette. Was there a particular sound or emotion that you were seeking out on Perfectly Blue?
RIP Swirl: I was always heavy into the shoegaze stuff but I’m never really seeking any sort of sound in particular rather than just trying to approach the writing with an open mind. I only use what’s in my studio and basically limit myself to the gear I collect. That’s the sonic palette and I sort of just play with my toys until I make something I really like.
I find it interesting how, where many bands seem to get more digital over their careers, you seem to be on the opposite trajectory. Do you think that’s the case?
RIP Swirl: I started out using Ableton to record the bands I played in. It wasn’t until we were in need of a drummer that I realised I might as well do this myself so I started making beats. I love the digital stuff and there’s lots of software I dig, but it was more of a necessity since I didn’t have much gear around. The only problem I always had with digital was its lack of limitations. Once I started collecting outboard gear and had a bunch of synths and amps I realised I’d much rather use that as my sonic palette and limit myself to what’s in my room.
You’ve mentioned that skate videos were a source of inspiration for you, are there any parts that stick out in your memory?
RIP Swirl: I love all early Alien Workshop being a kid of the 90s – especially the non-skating stuff in between. When it comes to particular parts I remember I loved Garrett Hill’s part in Zero’s New Blood. “Another Girl, Another Planet” by The Only Ones is playing and he also had long hair so that was cool.
You've also mentioned that you're influenced by film soundtracks. Was there something about film tracks that particularly attracted you as opposed to the standalone singles themselves?
RIP Swirl: I sort of see my own music as a soundtrack for the listener's life. That’s why I don’t talk about the story or meaning behind the music. I want you to take it and paste it onto your own life and that’s why I love listening to soundtracks because it makes my own life feel like a movie. Especially proper scores / original music, but I do also love the Dazed OST because it’s like a perfect compilation album.
The latest single, “I Found You Out (feat. Alias Error)”, from RIP Swirl‘s upcoming album Perfectly Blueis out now.
