Press

Press for “Sleepwalkers in a Cold Circus” (LINE 2015)

“(…) there is a lot of beauty to be found in these intoxicating and eerie pieces, his adventurous recording methods adding an extra element of tactility; the snippets of chamber-like avant classical experimentation are both breathtaking and ominous. (…)I find this a profoundly interesting and consistent body of sonic sculpture bulging with numerous possibilities and ideas. (…) One of the most sonically arresting releases I’ve heard on L-NE since the last Chartier/Basinski collaboration. Norman Records

“Des matières tactiles, des structures narratives, des textures complexes, et des chocs de fréquences au service d’une musique électroacoustique d’une grande finesse et beauté. L’électronique sait se marier avec des sources acoustiques enregistrées au plus près de la source pour renforcer leurs détails, Koenraad Ecker sait garder notre écoute aiguisée dans une construction d’espaces où les masses harmoniques sont toujours mesurées. Du beau travail.” Metamkine

“(…)a bold collection of tracks that both harken back to the new music of the mid 20th century and look forward to how those references and techniques relate to our ears in 2015. Good stuff.” Matthew Mercer at Ear Influxion

“There’s a microcosmic symbiosis happening within the morpho-space macro-structures that reveals an unfinished dimension of listening. Koenraad Ecker proposes here a sober take on that, through a syncretism towards the difference and dissection of timbre, thus expanding the figurative paradox of silence/resonance in order to find a dynamic space between its tension and segregation. Multiple, subtle, obvious and hidden microtones are well spread and interchanged; clouds flow gently among almost imperceptible grains, together with unexpected objects and both surprising and cautious situations, maintaining a faint slowness of endless singularities; intriguing, able to expel the ears from their comfort zone to catch the listener in an itinerant need, employing perplexity as aesthetic function and focusing a rhizomatic aspect of sound in which the inter-connection of the pieces embraces diversity and exposes it as richness.” Infinite Grain

“Y’a qu’à voir la pochette du disque : c’est un drôle d’objet que le belge Koenraad Ecker soumet à notre entendement. Electronica d’abord, et qui scintille. Mais passée la porte (à son fronton, on peut lire A Pilar of Salt), tout change, tout le temps.
Car à l’intérieur c’est un palais des glaces (j’aurais pu dire aussi un miroir à facette qui renvoie les sons les uns contre ou sur les autres). L’électronique « normale » comme un président se transforme au fur et à mesure au contact d’un field recording ou d’un nouvel instrument (une voix, un saxophone, un violoncelle, etc.). De salle en salle (car l’objet bizarre en comporte plusieurs, de salles) les ambiances se succèdent comme dans un film d’horreur ou (non, ce n’est pas au choix, mais bien tout en même temps) dans un peinture onirique. On n’en finit d’ailleurs pas d’écouter partout, et si le torticolis auriculaire existait, je n’en remercierais pas moins l’épatant Ecker d’en avoir été la cause.” Le son du Grisli

 

Press for “Ill Fares the Land” (Digitalis 2014)

“Koenraad Ecker’s Digitalis debut was that rarest of things – a drone/doom record that’s genuinely unpredictable and free of cliche. Brutally physical at times (benefited by some particularly sharp mixing and mastering), it’s nothing for Ill Fares The Land to pull complete 180s on the listener: from wobbling pads, scrapes and processed cello to hydraulic bass patterns in the blink of an eye.FACT magazine

“A remarkable debut album (…) that takes cello and out-electronics into foreboding narratives of cacophonous frequency and darkened intrigue. The interplay between the acoustic and electronic is of the highest order, at times recalling Pan Sonic’s dynamic finesse or the density and claustrophobia of other landmarks in a decidedly blackened catalogue, such as Scott Walker’s The Drift. Along with its inherent tension, moments of release and abject beauty manage to break through, giving the record a breadth of texture and emotion that can often be lost or mishandled in lesser visions. Expertly paced and eerily human in its industrial violence, Ecker’s ambience is definitely something to acquaint yourself with.” The Vinyl Factory

Sigha DJ chart on Resident Advisor

La Chroniquothèque (in french)

Mundo Urbano

Boston Hassle

Darkfloor

Tarumatu

Decoder Magazine

Juno Plus

Tiny Mixtapes

Norman Records

Resident Advisor

Boomkat

WhiteLikeHeaven

Des cendres à la cave

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s