Name: Killing Time by E for Echo in [Weekly Mix] 2021.06 (1)
Duration: 4 min 45 s
Description: ‘Killing Time’ was written in the middle of Sydney’s lockdown, when the day to day was dominated by screens and staring out of windows. It captures the band’s confusion and anxiety felt in the early stages of the pandemic, when their usual ways of creating music together was turned upside down.

[Weekly Mix] 2021.06 (1)

‘Killing Time’ was written in the middle of Sydney’s lockdown, when the day to day was dominated by screens and staring out of windows. It captures the band’s confusion and anxiety felt in the early stages of the pandemic, when their usual ways of creating music together was turned upside down.

Killing Time

The Haunted Youth - Coming Home - Fr 04-06-21

On the occasion of the exhibition Celeste at Copenhagen Contemporary, the artists and musicians CTM (Cæcilie Trier) and August Rosenbaum present their new album of the same name with Posh Isolation. The exhibition is an immersive installation structured in acts that has been created with the artists Lea Guldditte Hestelund and Ea Verdoner. Trier and Rosenbaum's songs and instrumental pieces can be found in the gallery as an element in a hybrid work of sculpture, video, and choreography that explores corporeality and transience. Their album 'Celeste' presents these recordings as a standalone work.

Rosenbaum is an acclaimed pianist and composer based in Copenhagen. He has won two Danish Music Awards for his solo work, and his list of collaborators includes Zeena Parkins, Kim Gordon and Jesper Just. Rosenbaum's work has been commissioned for film and performances at Palais de Tokyo, The Royal Danish Ballet and The Metropolitan Museum of Art. Trier is likewise based in Copenhagen, releasing music under her alias of CTM. Her latest album "Red Dragon" presented an experimental approach to both songcraft and production that quietly captured critical acclaim. As a revered cellist, vocalist and composer, Trier has been involved in a wide array of projects and collaborations across genres and disciplines.

A suite of twelve pieces comprise the album 'Celeste.' Each piece interlocks with another, and together it can be thought of as a prism through which the work's materiality is both conceptualised and felt. Having developed the sound material with the objects and surfaces in the exhibition, and phrasing the work with the movement and tactility of the space itself in mind, 'Celeste' both renders the exhibition aurally and illustrates some of the sensuous qualities that can be found within it. Tones generated by striking and manipulating the stones within the installation are the starting point for some of the pieces, for example. Project onto these processes a poetic and philosophical meditation on value and runaway existential motifs and one starts to understand the themes around temporality and anthropomorphism that haunt every gentle stroke that has gone into 'Celeste.'

Though the instrumentation—predominantly cello, accordion, and piano—is articulated clearly across the album, the resonances found within and around each instrument feels just as descriptive as the plaintive though curious melodies that they deliver. Cadences are toyed with through the album too, prompting a tricky sense of duration and teasing the listener to focus on these carefully stoked ambiences. Between the medley of acoustic instruments and digital treatments, Trier's supernatural vocals linger. The lyrics give snapshots of characters and beings that drift from focus just as they enter, often ambivalently.

Detached from the gallery, 'Celeste' is a truly mesmerising work that is hard to place in any one category. It straddles many forms just as it presents itself as a whole. The delicate compositions befit the tender themes, making it an engrossing parallel to its namesake installation.

The album will be released on June 25th on all formats, including a limited edition vinyl with a scent sample taken from the exhibition space. 

releases June 25, 2021

The album was mixed and co-produced by Malthe Fischer

Mastered by John Hannon

Celeste

Even if

CTM & August Rosenbaum - Even If

knife girl "Metro EP" out july 2nd on Playground Records

written+performed+produced by knife girl
mastered by Philip granqvist

give it 2 yu

From the Crystalline Stricture album, 'Pristine Gardens'.

Available on TONN Recordings Bandcamp.

Vocals M. McIntyre.

Image © Christopher Martin

Pristine Gardens

Pristine Gardens - Crystalline Stricture

‘Going Home’ is a pure ballad. Correction: ‘Going Home’ seems like a pure ballad. But in fact the song reveals layers like infinitely opening drawers. Over the vibrant chords of an acoustic guitar, a voice begins to sing a melancholy melody at a cosmic distance that recalls The xx or London Grammar. This track evokes the mellow sadness of autumn. As you listen and relisten, you spin endlessly against the backdrop of a sharp, haunting arpeggiator that drives this song towards the softly shining stars … far away from yourself.

Cosmic

Going Home

vertikal

Halfway

Primer sencillo del EP con https://soundcloud.com/jeseguel/

Virtual Lover ft Jesús Seguel

at mass

Ffoi - Single by Ghostlawns. Release date: 4 Sept 2020. 
(This track is taken from their debut album - Motorik. Release Date: 30 Oct 2020)

Ffoi - Sengl gan Ghostlawns. Dyddiad Rhyddhau: 4 Medi 2020.
(Mae'r trac hwn wedi'i gymryd o'r albwm cyntaf - Motorik. Dyddiad Rhyddhau: 30 Hyd 2020)

Sub Records SUB002

Ffoi

A pop-rock track using club beats behind a Who inspired expansive riff.  Good driving music.

Love Me Like A Lover

Message Trouble

2020-11-14

completely free

Smile

Sunk Foul Brother

As a follow up to their debut EP 'Dreamers', E for Echo have kicked off 2019 with the release of Oh Boy, the first single off their sophomore EP ‘How To Win’. The band launched the single live on stage, opening for The Jezabels as part of their massive national tour. 

E for Echo’s sophomore EP ‘How To Win’ will be dropping later this year.

E for Echo’s sound is awash with dream-pop soundscapes that dip deep below the surface into expansive intensity, growing from years of collaboration between Jenna and Zana. In 2016 they gave themselves the next logical push, into the warm embrace of a full band. The group are now gaining a wide audience and stellar reputation for their dynamic and engaging live shows.

Jenna and Zana recently completed a co-write/record with Not A Boy’s Name (Island Records) and have also playing extensively over the past couple of years. They shared stages twice with Mumford and Sons, opened for Ngaiire, A.D.K.O.B and Letters To Lions. They are also gearing up to support the legendary Van Duren (US) on his debut 2019 AU tour.

The band have worked with renowned producer Ross James (Chet Faker, Vera Blue), Simon Berckelman at Golden Retriever (The Internet, How To Dress Well) & Steve Smart (David Bowie). ‘How To Win’ however is entirely self-produced. 

The Sydney 4-piece is made up of Jenna Murphy (vox/electric guitar), Zana Rose (vox, electric piano, synths), James McKenna (bass guitar), and Marc Watson (beats and samples).

Killing Time

E for Echo

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