There’s a patient consistency at the heart of Alexander Berg’s work as Dorisburg. The Swedish producer has made ten EPs and one album over the past six years, and put simply, each one is something to be proud of. Speaking with Resident Advisor, Berg explains he writes over 100 tracks a year, creating music impulsively then letting it ferment, often revisiting ideas months later to see if that initial spark still glows. His catalog, which encompasses both dreamy, melancholic melody and hypnotic drum tracks, maintains a quality and singularity of personality that’s immediately recognizable on record and in the live setting, performance being a primary focus for Berg with his solo project. He also solely releases on labels run by his friends—the Swedish labels Aniara Recordings, Bossmusik and Northern Electronics, as well as Hivern Discs, who handled the release of his debut full-length, Irrbloss.
The weighty eight-tracker for John Talabot’s imprint demonstrates Berg’s dizzying sonic range. For example, “Votiv,” begins with nostalgic, washed-out woodwinds and low-end throb before honing in on rolling bassline, a deep, hypnotic and fully-analog affect. Elsewhere, he hits on dark, spanning techno, as well as a more porous, twisting variety before traveling through pensive ambience and soundtrack-like synth work. But the far-flung aspect of remarkably consistent debut simply follows the breadcrumbs he’s laid out for the cognoscenti throughout his solo career. His 2014 12-inch for Abdulla Rashim’s Northern Electronics, Splade, stripped things back to only a hint of melody to devastating effect. Trust, a highly sought-after Aniara release from the same year, is dreamy, kinetic house. While he shifts through stylistic lanes with ease, all of his tracks are anchored by a lush atmosphere that adds an otherworldly magic to even his toughest beats.
Berg creates this same enveloping feel in his masterful live shows. In that setting, he focuses on creating that same atmosphere, weaving his way through his back catalog and unheard material in an unhurried manner that rewards patience. This is where the countless hours in the studio, the trove of tracks that have not yet or simply won’t be released, serve a transportative purpose. Along with a trove of unheard material, Berg delivers faithful versions of back catalog classics, but leaves room for improvisation, often crafting remixed versions and sampling himself on-the-fly. Just as Irrbloss summarized Berg’s interests to date, each night with his live show, he shows what he’s learned on his journey, in adroit command of his hardware rig.
Berg’s inspired not only by music, but “dancing, reading, thinking, conversations with friends and looking at art. Anything that nails a certain feeling really.” Having finally settled in Stockholm more or less permanently, he benefits not only from a stable studio setup that allows him to burrow deeper on a daily basis, but a vital local scene that encourages risk-taking and exploration. Fully aware of the “rising tide lifts all boats” concept of “scenius,” he craves the give-or-take that his regular interaction with Stockholm’s leading lights provides. Berg’s approach, devoting himself to music in every moment of his spare time, focusing on live sets and acting as an active member of a growing local scene, evidences a producer who’s in it for the long haul. As RA’s Carlos Hawthorn says, “If making music weren’t his job, he’d be doing it anyway.”