Mordecoli featuring Valerio Tricoli and Ecka Mordecai
Château Mordécoly
Ecka Mordecai & Valerio Tricoli’s cello and Revox tape duo yield a starkly gripping form of avant-classical gloom on debut full length with Luke Younger’s Alter, sure to seduce disciples of Hildur Gudnadottir, Leila Bordreuil, Helge Sten
The phantasmic musique concrète silhouettes of ‘Château Mordécoly’ derives from wine-soused sessions at London’s esteemed Cafe Oto, where Mordecai’s roots and branches in early music and avant-classical are heard subtly warped, tattered, and braided by Tricoli’s preternatural Revox B77 reel-to-reel tekkerz. The three part suite proceeds from Mordecai’s superb solo debut, proper, ‘Promise & Illusion’ (Otoroku, 2022) and the first Mordecoli tape ‘The Addiction’ (Hedione, 2022) with 40 minutes of music that characterises and bottles the increasing intensity of their collaborations, ongoing in private for the better part of the past decade. The results are cinematic, unsettling, yet somehow sexy in their evocative grasp of a writhing psychedelia and emotional register, congealing voice, wooden body, horsehair and tape in symbiotic metaphysicality.
Tricoli & Mordecai uncannily move as one phantasmic whole, fleshing out the sound stage from spotlighted soloist strokes to swarming diffusions. There is a real sense of alchemy at play in their coming together of intuitions, forgoing any spectacular tricks or stunts in favour of a seamless flow of energies, occasionally fractured by Tricoli’s punctuation, but never letting themselves get carried away, preferring to hold a line of calmness that belies the depth of feeling lurking beneath.
The first piece’s transition from range-finding drone to aeolian plucks, and slow-burning ethereality buoying Ecka’s siren-like void is just masterful, while a more rustic mid-section keens into eerie oblivion, setting up a final part where Ecka’s lifetime of training really comes into play with its bittersweet discord stealthily layered, reiterated in a haunted house hall of mirrors like Ligeti and Bernard Hermann at the Psycho house, resolving in almost sickly sweet dream folk.
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Ecka Mordecai & Valerio Tricoli’s cello and Revox tape duo yield a starkly gripping form of avant-classical gloom on debut full length with Luke Younger’s Alter, sure to seduce disciples of Hildur Gudnadottir, Leila Bordreuil, Helge Sten
The phantasmic musique concrète silhouettes of ‘Château Mordécoly’ derives from wine-soused sessions at London’s esteemed Cafe Oto, where Mordecai’s roots and branches in early music and avant-classical are heard subtly warped, tattered, and braided by Tricoli’s preternatural Revox B77 reel-to-reel tekkerz. The three part suite proceeds from Mordecai’s superb solo debut, proper, ‘Promise & Illusion’ (Otoroku, 2022) and the first Mordecoli tape ‘The Addiction’ (Hedione, 2022) with 40 minutes of music that characterises and bottles the increasing intensity of their collaborations, ongoing in private for the better part of the past decade. The results are cinematic, unsettling, yet somehow sexy in their evocative grasp of a writhing psychedelia and emotional register, congealing voice, wooden body, horsehair and tape in symbiotic metaphysicality.
Tricoli & Mordecai uncannily move as one phantasmic whole, fleshing out the sound stage from spotlighted soloist strokes to swarming diffusions. There is a real sense of alchemy at play in their coming together of intuitions, forgoing any spectacular tricks or stunts in favour of a seamless flow of energies, occasionally fractured by Tricoli’s punctuation, but never letting themselves get carried away, preferring to hold a line of calmness that belies the depth of feeling lurking beneath.
The first piece’s transition from range-finding drone to aeolian plucks, and slow-burning ethereality buoying Ecka’s siren-like void is just masterful, while a more rustic mid-section keens into eerie oblivion, setting up a final part where Ecka’s lifetime of training really comes into play with its bittersweet discord stealthily layered, reiterated in a haunted house hall of mirrors like Ligeti and Bernard Hermann at the Psycho house, resolving in almost sickly sweet dream folk.
Tip!
Ecka Mordecai & Valerio Tricoli’s cello and Revox tape duo yield a starkly gripping form of avant-classical gloom on debut full length with Luke Younger’s Alter, sure to seduce disciples of Hildur Gudnadottir, Leila Bordreuil, Helge Sten
The phantasmic musique concrète silhouettes of ‘Château Mordécoly’ derives from wine-soused sessions at London’s esteemed Cafe Oto, where Mordecai’s roots and branches in early music and avant-classical are heard subtly warped, tattered, and braided by Tricoli’s preternatural Revox B77 reel-to-reel tekkerz. The three part suite proceeds from Mordecai’s superb solo debut, proper, ‘Promise & Illusion’ (Otoroku, 2022) and the first Mordecoli tape ‘The Addiction’ (Hedione, 2022) with 40 minutes of music that characterises and bottles the increasing intensity of their collaborations, ongoing in private for the better part of the past decade. The results are cinematic, unsettling, yet somehow sexy in their evocative grasp of a writhing psychedelia and emotional register, congealing voice, wooden body, horsehair and tape in symbiotic metaphysicality.
Tricoli & Mordecai uncannily move as one phantasmic whole, fleshing out the sound stage from spotlighted soloist strokes to swarming diffusions. There is a real sense of alchemy at play in their coming together of intuitions, forgoing any spectacular tricks or stunts in favour of a seamless flow of energies, occasionally fractured by Tricoli’s punctuation, but never letting themselves get carried away, preferring to hold a line of calmness that belies the depth of feeling lurking beneath.
The first piece’s transition from range-finding drone to aeolian plucks, and slow-burning ethereality buoying Ecka’s siren-like void is just masterful, while a more rustic mid-section keens into eerie oblivion, setting up a final part where Ecka’s lifetime of training really comes into play with its bittersweet discord stealthily layered, reiterated in a haunted house hall of mirrors like Ligeti and Bernard Hermann at the Psycho house, resolving in almost sickly sweet dream folk.
Tip!
Ecka Mordecai & Valerio Tricoli’s cello and Revox tape duo yield a starkly gripping form of avant-classical gloom on debut full length with Luke Younger’s Alter, sure to seduce disciples of Hildur Gudnadottir, Leila Bordreuil, Helge Sten
The phantasmic musique concrète silhouettes of ‘Château Mordécoly’ derives from wine-soused sessions at London’s esteemed Cafe Oto, where Mordecai’s roots and branches in early music and avant-classical are heard subtly warped, tattered, and braided by Tricoli’s preternatural Revox B77 reel-to-reel tekkerz. The three part suite proceeds from Mordecai’s superb solo debut, proper, ‘Promise & Illusion’ (Otoroku, 2022) and the first Mordecoli tape ‘The Addiction’ (Hedione, 2022) with 40 minutes of music that characterises and bottles the increasing intensity of their collaborations, ongoing in private for the better part of the past decade. The results are cinematic, unsettling, yet somehow sexy in their evocative grasp of a writhing psychedelia and emotional register, congealing voice, wooden body, horsehair and tape in symbiotic metaphysicality.
Tricoli & Mordecai uncannily move as one phantasmic whole, fleshing out the sound stage from spotlighted soloist strokes to swarming diffusions. There is a real sense of alchemy at play in their coming together of intuitions, forgoing any spectacular tricks or stunts in favour of a seamless flow of energies, occasionally fractured by Tricoli’s punctuation, but never letting themselves get carried away, preferring to hold a line of calmness that belies the depth of feeling lurking beneath.
The first piece’s transition from range-finding drone to aeolian plucks, and slow-burning ethereality buoying Ecka’s siren-like void is just masterful, while a more rustic mid-section keens into eerie oblivion, setting up a final part where Ecka’s lifetime of training really comes into play with its bittersweet discord stealthily layered, reiterated in a haunted house hall of mirrors like Ligeti and Bernard Hermann at the Psycho house, resolving in almost sickly sweet dream folk.
Tip!
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Ecka Mordecai & Valerio Tricoli’s cello and Revox tape duo yield a starkly gripping form of avant-classical gloom on debut full length with Luke Younger’s Alter, sure to seduce disciples of Hildur Gudnadottir, Leila Bordreuil, Helge Sten
The phantasmic musique concrète silhouettes of ‘Château Mordécoly’ derives from wine-soused sessions at London’s esteemed Cafe Oto, where Mordecai’s roots and branches in early music and avant-classical are heard subtly warped, tattered, and braided by Tricoli’s preternatural Revox B77 reel-to-reel tekkerz. The three part suite proceeds from Mordecai’s superb solo debut, proper, ‘Promise & Illusion’ (Otoroku, 2022) and the first Mordecoli tape ‘The Addiction’ (Hedione, 2022) with 40 minutes of music that characterises and bottles the increasing intensity of their collaborations, ongoing in private for the better part of the past decade. The results are cinematic, unsettling, yet somehow sexy in their evocative grasp of a writhing psychedelia and emotional register, congealing voice, wooden body, horsehair and tape in symbiotic metaphysicality.
Tricoli & Mordecai uncannily move as one phantasmic whole, fleshing out the sound stage from spotlighted soloist strokes to swarming diffusions. There is a real sense of alchemy at play in their coming together of intuitions, forgoing any spectacular tricks or stunts in favour of a seamless flow of energies, occasionally fractured by Tricoli’s punctuation, but never letting themselves get carried away, preferring to hold a line of calmness that belies the depth of feeling lurking beneath.
The first piece’s transition from range-finding drone to aeolian plucks, and slow-burning ethereality buoying Ecka’s siren-like void is just masterful, while a more rustic mid-section keens into eerie oblivion, setting up a final part where Ecka’s lifetime of training really comes into play with its bittersweet discord stealthily layered, reiterated in a haunted house hall of mirrors like Ligeti and Bernard Hermann at the Psycho house, resolving in almost sickly sweet dream folk.
Tip!