Peryl is a musician and live performer known for his intuitive and improvised sets, often crafted with modular synths. He regularly performs in iconic clubs like Tresor. Peryl also collaborated with Rødhåd on the EP KALLAIT, released on the WSNWG label.

How would you describe your evolution as an artist over the years?

When I started, I didn’t really have a plan — I just made music intuitively, following my roots as a drummer. Back then, music was a way for me to break out and channel personal things, and that hasn’t changed much. The difference now is that I’ve found a path, one in which I feel comfortable and can do what’s good for me. Of course, there are always ups and downs you need to learn how to deal with, but for me, that’s also a strong motivator.

You've collaborated with Rødhåd twice now, most recently on the Fabric Presents Rødhåd project. How did that collaboration come about?

I think we’re both pretty big gear nerds and share a deep affinity for synthesizers and sounds in general. That’s definitely something that connects us and laid the foundation for our collaboration. Mike’s [Rødhåd’s] studio is a perfect space to experiment and let loose creatively. Back then, I didn’t have my own studio space yet and was still recording music in my living room. So I’m really grateful for that experience.

What was the breakthrough moment for you with respect to your live performances, and how has that shaped your approach to playing live in general?

I don’t think there was ever a single “breakthrough” moment. But I vividly remember hearing my first patches on a big club PA — it was incredible and turned into a four hour soundcheck jam session. With every gig, I still feel that same excitement, feeling like a kid, planning my setup and then taking it from the studio to the dancefloor.

What was the process of finding your own, unique sound for you? Were there any specific influences that guided you along the way?

Honestly, I think the process never really ends — or at least, I hope it doesn’t! Most of my influences come from the gear and instruments I use. Sometimes I’ll listen to an artist’s entire discography and try to replicate certain elements, purely out of curiosity and for practice. That often sparks new ideas during the process. Once you understand how sounds are created and how your equipment works, you can then intentionally “misuse” it to find unexpected results.

What was the first instrument you used for making electronic music?

I started with an old Alesis drum machine, a DSI Mopho, and a Boss distortion pedal. I recorded everything directly into Ableton Live.

In your live performances, you often switch between different gear and setups. Do you adjust your gear depending on your playtime and/or the atmosphere you want to create?

That’s a tricky one — it’s often a battle with myself! I’d love to stick to a fixed setup, but something inside me always pushes back. After playing two or three sets with the same gear, I start getting bored in live situations. I need that element of surprise and fresh input from the devices I’m using, it keeps things exciting. That said, my core setup usually includes a drum machine, my modular system, and one or two external effects.

When playing live with modular gear, does everything always work as planned or have there also been moments where you had to troubleshoot on the fly?

I’m troubleshooting all the time — that’s the whole concept of my performance. Everything happens on the fly and gets shaped and adjusted live until it sounds right. Improvising with my setup has become the most comfortable way for me to perform. If I plan too much, there’s more room for things to go wrong. Without a strict plan, anything is possible, and that’s what excites me most. Not knowing what will happen at the start of a set means the audience doesn’t either, and together we create the journey.

I did try doing meticulously pre-planned sets with samplers for a while. Sonically, they were super polished, but the performances felt dull to me because I always knew what was coming next. It did not leave much room to respond to the crowd.

How do you achieve a clean and powerful sound for the club? Is the OTO Boum a crucial part of your setup to achieve this?

It’s not so easy anymore, to be honest. Playing alongside DJs with overly loud masters can be a real challenge. I’m not trying to compete with that, but the difference still is often insane. But I believe great live sets stand out because of their dynamics, while many DJ sets these days are just about volume.

I’ve tested the OTO Boum for a while and was impressed by how good it sounds. It’s a fantastic tool for systems that struggle with deep and curvy basslines. I’m a big fan of master saturation.

In some of your Instagram photos, there’s a small notebook next to your synths. Do you use the notebook to keep track of your patterns and songs during live performances?

Exactly. It’s a notebook where I jot down general ideas or notes for my performances. Usually, it’s combinations or tunings that sound great in a club setting. It also has notes on many of my already released productions.

What advice would you give young artists interested in performing live?

One crucial part of being a great live act is really understanding the gear in front of you. A lot of people buy things based on recommendations and then struggle to use them properly. That can be frustrating and discouraging. Taking an interest in your equipment goes a long way, especially if you want to play live.

How do you stay motivated and overcome creative blocks?

I don’t think there’s a fixed rule for dealing with creative blocks, at least not for me. When something is not clicking, I think it’s important to accept that and to not take it too personally. It’s okay to criticize and question things, because that’s how you eventually find new directions.

I also don’t see myself as a “creator” of music — it feels more like I’m channeling ideas that come to me in certain situations.

Visiting SchneidersLaden is always a good idea when I feel stuck. It grounds me and I always feel at home there. Trying out new gear and exchanging ideas about sounds and devices with others is incredibly inspiring — I highly recommend it!

What’s next for you — any upcoming projects or releases we can look forward to?

There’s a lot coming up in 2025. I’ll be releasing my first album on Augmented Research and a few more EPs. I’ve also started exploring listening sessions, and you can expect more of those performances in the future.

You can find out more about Peryl here: Bandcamp , SoundCloud , Instagram and Resident Advisor.