Texture junkies rejoice. Three-dimensional music. You can reach out and touch it. Eerie and haunted. Could be a soundtrack to an understated, seaside horror flick. Imagine P.T. Anderson directing a more meditative, mysterious rendition of Jaws.
Favorite track: Addicted to Tin.
On Sleepwalkers in a Cold Circus Belgian sound artist Koenraad Ecker creates a biotope of musical characters that is sober, delicate, complex and vivid, with a restrained intensity, a “cold fire.” The characters discuss, hesitate, fight, pull closer, push back. Through the use of microtonality and recordings of acoustic instruments it is the elusive sound of a somnambulistic travelogue.
“I’m searching for ways to create an intricate narrative, switching perspectives and voices within one form, to use silences and hesitations, cuts and fast-forwards. I’ve used a lot of extremely close-up recordings of objects and instruments, I like the confusion they create by being intimate and menacing at the same time.”
There’s a somewhat austere quality to this work; in contrast to the dark drama of his critically acclaimed first LP Ill Fares the Land (Digitalis, 2014), very few tension curves are allowed to follow their logical conclusion—they’re left just out of reach, intangible. Sleepwalkers in a Cold Circus seems to hang suspended in the air in a grey mist, moving sideways instead of forward, hesitating whether to let the listener through the door or not.
Shadowy electro-acoustic dimensions for those who appreciate the darkness of Mika Vainio, Valerio Tricoli, or Main.
released February 17, 2015
All music by Koenraad Ecker. Mastered by Rashad Becker at Clunk, Berlin. cover image by Alison Darby.
Thanks to : Alison, Andrea, Frederik, Rashad and Richard. Special thanks to the IPEM institute (Ghent, Belgium) for the opportunity to use and record their EMS Synthi100.