Gatefold LP with Download Code. Edition of 300. Vinyl was mastered & Cut at D&M. Liquid spaces, porous boundaries, unstable relationships – the possibility of transformation
pervades A Biology of Shadows, Koenraad Ecker’s third full-length album.
Crowds transform into insectoid chirps, voices approach and retreat, clarinets morph into
birdsong, fire turns liquid, microscopic needles echo in cavernous spaces, as the familiar becomes
uncanny. A brimming, anarchic aural ecology, mercurial and vitalistic, ebbing and flowing
through the body and the world it inhabits. A human presence permeates throughout, critical,
A Biology of Shadows is divided into two parts : Endoscopy, the first half, surgically enters the
body of contemporary hegemony, fearlessly dissecting the organs of surveillance, disciplining,
precarity and alienation. Alex „Bogues“ Rendall, one half of Jabu and part of the Young Echo crew,
takes the front-stage as the soothsayer, the observer, delivering his spoken word with a calm,
insistent militancy, surrounded by an acoustic scenography in constant flux. L’incendio Genovese,
the last track of part one, juxtaposes Audrey Chen’s otherworldy voice with Ecker’s own choir-like
singing, in a dramatic aural imagining of the events of the 2001 G8 riots in Genoa.
Part two steps away from the cold observation of the first half, diving headlong into part two : the
restless and anarchic Undergrowth – a mutinous undercurrent, filled with the promise of
transformation, unstable and precarious, but hopeful nonetheless. In these pieces,
choreographed foley, mangled clarinets, sardonic birds and sizzling drums coalesce into an
unruly and buoyant pandemonium of contrasting voices – an antidote to the lazy dread of
A Biology of Shadows nimbly fuses close-up foley, the human voice, spectral re-synthesis, acoustic
instrumentation and an acute sensibility of space into a vivid and critical aural document of the
The album, which will be self-released on Ecker’s In Aulis label, will be available on gatefold vinyl
and digital formats, mastered & cut by Rashad Becker at D&M.
The artwork was made by Alison Darby and incorporates one of Ecker’s poems : it is part of an
ongoing series of collaborative works.
Koenraad Ecker is a Belgian sound artist. He has previously released on Digitalis and LINE, and is co-founder of
Lumisokea (Opal Tapes) and Stray Dogs (Kvitnu), two long-running music projects. His output ranges from studio
albums to multidisciplinary performances, audiovisual installations, music for contemporary dance & theater
and soundtrack work. He has presented his work in venues ranging from freezing squats to plush opera houses,
and his sound design work has been used in major films such as Black Mirror and Annihilation. In 2017, one of his
spatial audio compositions was nominated for the „Prix Ars Electronica“.