Norway’s finest drops an exclusive mix to celebrate the release of his new single
In the ever-evolving landscape of Oslo’s electronic music scene, producers Blichfeldt and Tibert present Bølge, a track that seamlessly blends atmospheric depth with melodic house sensibilities.
Blichfeldt, a stalwart of Oslo’s underground, has captivated audiences with his entrancing DJ sets at venues such as Jaeger and Skaugum. As a co-founder of the city’s esteemed Basement nights, he has shared the stage with international luminaries while refining his distinctive sound. His minimalist yet evolving productions have garnered a dedicated following, with tracks like Blichenschlager and Berg solidifying his reputation as a compelling electronic artist.
The duo are currently enjoying a rich vein of collaborative creativity, with Bølge following previous recently released singles Oslo and Ketosphere.
In Bølge – Norwegian for ‘wave’ – the duo delves into atmospheric soundscapes and intricate rhythms. With the single landing this month on Baeement Records, we invited Blichfledt to the Magnetic mix series.
Listen to the mix here and check the interview below
Your music often balances cerebral intricacies with physical rhythms. How do you approach crafting tracks that engage both the mind and body?
Every track I make is a puzzle of layers, each playing its part. For me, the drums and bassline are the heart of most tracks. The topline drums are always rhythmic and engaging—designed to get people moving. I love sneaking in subtle old-school drumlines deep in the mix—so low you might not notice them directly, but they create this undeniable groove that pulls you in. Paired with a simple yet fat bassline working in tandem with the kick, it’s all about that feeling in your chest—the kind that connects you to the music physically.
Then there’s a leading element, usually a synth with a simple progression. I keep the progressions straightforward, but I spend a lot of time on sound design. That’s where the magic happens—creating something atmospheric and euphoric, giving the track its emotional core. It’s this blend that I think hits both the mind and body: the groove gets you dancing, and the textures keep you hooked.
Oslo’s underground scene has a distinct character. How have venues like Jaeger and Skaugum influenced your sound and creative process?
These places aren’t just venues—they’re institutions, each with its own unique vibe. Jaeger has spent years building a crowd that truly listens. It’s not the kind of place where you play for Instagram videos; you can go deep, push boundaries, and know the audience is with you. That’s influenced my production a lot—I think about the kind of tracks that can hold their own in that environment, where complexity and subtleties are appreciated.
Skaugum, on the other hand, is a completely different beast. It’s outdoors but still gritty, and that combination creates such a unique energy. Playing there has taught me how to guide a crowd. They’re up for the journey, but you need to lead them—introduce them to sounds and tracks they didn’t know they needed. Skaugum is where I really honed the idea that every set should be a story, taking the audience somewhere they didn’t expect but love.
Your recent releases, such as Blichenschlager and Berg, suggest an evolving narrative. What themes are you exploring, and how do you envision this progression continuing into 2025?
For me, releasing music is like leaving my legacy—it’s a way to document where I am as an artist and as a person. I try not to overthink it; If a track feels close to right, I release it. Chasing perfection can strip away a track’s raw energy, even destroy it. For me, it’s about capturing the moment and letting each release reflect my growth and where I am creatively. After all, if no one hears the music, what’s really the point?
Blichenschlager was my first solo track, and I’m proud of its energy—it leans more towards techno and was definitely me exploring that side of my sound. Then there’s Berg, which feels like a snapshot of where I’m heading now: fewer elements, more intricate details. That track came to life at my summerhouse in Tjøme, a place that holds a lot of meaning for me. I wanted to capture the feeling of being there, surrounded by nature and all the memories tied to it. Moving into 2025, I think my music will continue to reflect those personal connections—moments, places, and emotions that shape my life.
As a co-founder of Basement Nights, how do you curate events that maintain an underground ethos while featuring globally recognized DJs?
It’s a balancing act, but for us, it always starts with authenticity. We book artists who genuinely get what we’re about—people who live and breathe the same passion for music that we do. It’s not about chasing big names for the sake of hype. Instead, we focus on creating a vibe, a space where people feel like they’re part of something real.
We also love mixing it up—pairing well-known names with underground artists we’re excited about. There’s nothing better than introducing the crowd to someone they’ve never heard of and watching them fall in love with their sound. It’s about trust, really. Over time, the audience knows that whoever’s on the lineup, it’s going to be a night worth remembering. And even when we bring in bigger acts, we work to keep the atmosphere intimate and grounded—never losing that sense of connection.
Being spotlighted by Beatport as a defining Norwegian electronic artist brings increased visibility. How does this recognition influence your perspective on your role within both local and global electronic music scenes?
It’s a surreal feeling, to be honest. Recognition like that is what we all strive for, but when it happens, it’s both humbling and energizing. For me, it’s a chance to shine a light on Oslo’s electronic scene, which is insanely underrated globally. There’s so much talent here, and being part of that conversation is an honor.
At the same time, it’s a reminder to stay grounded and not lose sight of why I started making music in the first place. It pushes me to keep evolving and experimenting, but always in a way that feels true to myself. That Beatport article felt like a checkpoint—one of those moments where you pause, take it in, and then get back to work, motivated to keep pushing.
Minimalism is central to your work, yet your sound resonates widely, climbing charts and reaching international audiences. How do you balance staying true to your underground roots while appealing to a broader audience?
Minimalism, for me, is about cutting through the noise. It’s about finding the essence of a track and amplifying it. There’s nowhere to hide in minimalism—you’re working with fewer elements, so each one has to carry weight. It’s that raw honesty in the music that I think connects with people.
For those who listen closely, there’s a lot to discover in the details—the shifts, the textures, the spaces between sounds. For more casual listeners, the simplicity leaves room for them to connect emotionally, filling in the gaps with their own experiences. I never chase trends or try to appeal to everyone. I just make music that feels authentic to me, and if that resonates with a broader audience, that’s amazing. But my roots in the underground are always my compass.
Your recent collaboration with Tibert on “Ketosphere” blends your styles seamlessly. What was the creative process behind this track, and how did your individual influences converge?
Ketosphere came to life during a production weekend at my summerhouse in Tjøme—a ritual we have that’s as much about the vibe as it is about the music. Tibert is an incredible producer, and while we share similar tastes, our differences really push the collaboration. He’s meticulous with sound design and textures, while I tend to focus on the storytelling and progression of the track.
This particular track was a bit of a detour. We’d been working on a lot of material, and at some point, we just decided to do something completely different. I was fresh off a small private festival in Geiranger, and that inspiration fed into the track. Ketosphere feels like both of us and neither of us at the same time—a playful experiment that turned into something we’re both really proud of.
Collaborations can introduce new dynamics to an artist’s work. How has working with Tibert on “Ketosphere” influenced your approach to production and performance?
Working with others is one of the best parts of making music. I often collaborate more than I work alone, and that’s something Tibert has helped me appreciate even more. With him, there’s no ego, no gatekeeping—it’s about sharing techniques, ideas, and a love for music.
Tibert’s precision in sound design has taught me a lot, from layering textures to finding the perfect kick sample. Meanwhile, I bring my strengths in writing and progression to the table. It’s a dynamic that constantly challenges me to think differently and step out of my comfort zone. Collaborating has made me more adventurous, not just in production but in how I approach live sets too.
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