Ecka Mordecai
Promise & Illusion
Boomkat Product Review:
Beautiful maiden opus by cellist/composer/sound artist Ecka Mordecai, inviting listeners to drift an oneiric inner world of finely pruned inspirations from Renaissance chamber music, free improv and concrète nuance for Café Oto’s OTOROKU label.
Wreathing cello, horsehair harp, violin and field recordings to the theme of la charnière - ‘hinge’ or ‘pivot’ in french - Mordecai binds myriad strands of practical research and performance into a gorgeous, wilting bouquet of ideas on ‘Promise & Illusion’. A peripatetic soul who has stealthily moved between various nodes of the UK’s musical sub terrains, from roots playing viola de gamba in a Stafford renaissance group, to performance art studies in Brighton, thru stints in Salford and Scotland, and playing with Andrew Chalk & Tom James Scott in Circæa, or more recently in the Mordecoli duo with Valerio Tricoli; Mordecai has bided her time to now draw upon a rich repository of experience that lends critical depth to her songcraft’s metaphysics and preternatural ability to join dots between hypnagogic folk, smoking jazz, and crackling embers of experimental classical.
‘Promise & Illusion’ is a remarkably accomplished recording that finally yields Mordecai’s definitive document to a scene that's long known she had something special in her, and it was only a matter of time before it was ripe for release. With exquisite control of tongue-tip tone and torchlit familiarity of shadowplay, she tells a gripping story that bends time and space to her will. Lemniscating from the creaking floorboards and glossolalia of ‘la charnière, pt. I’ to its echo in ‘mistakes & continue’, the album fleets from incredible chamber music redolent of Meredith Monk in ‘woe are we’ to the small sound inception of ‘a unit has no unity’, and hushed but guttural plucks reminding to Lolina in regression on ‘indigo’, with precise but free avant-classical virtuoso works such as ‘study of a flame’ hailing her background working with Antoine Bueger, contrasting with the something like darker, concentrated echo of Heather Leigh in the lust of her title piece.
What a stunning record?
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Boomkat Product Review:
Beautiful maiden opus by cellist/composer/sound artist Ecka Mordecai, inviting listeners to drift an oneiric inner world of finely pruned inspirations from Renaissance chamber music, free improv and concrète nuance for Café Oto’s OTOROKU label.
Wreathing cello, horsehair harp, violin and field recordings to the theme of la charnière - ‘hinge’ or ‘pivot’ in french - Mordecai binds myriad strands of practical research and performance into a gorgeous, wilting bouquet of ideas on ‘Promise & Illusion’. A peripatetic soul who has stealthily moved between various nodes of the UK’s musical sub terrains, from roots playing viola de gamba in a Stafford renaissance group, to performance art studies in Brighton, thru stints in Salford and Scotland, and playing with Andrew Chalk & Tom James Scott in Circæa, or more recently in the Mordecoli duo with Valerio Tricoli; Mordecai has bided her time to now draw upon a rich repository of experience that lends critical depth to her songcraft’s metaphysics and preternatural ability to join dots between hypnagogic folk, smoking jazz, and crackling embers of experimental classical.
‘Promise & Illusion’ is a remarkably accomplished recording that finally yields Mordecai’s definitive document to a scene that's long known she had something special in her, and it was only a matter of time before it was ripe for release. With exquisite control of tongue-tip tone and torchlit familiarity of shadowplay, she tells a gripping story that bends time and space to her will. Lemniscating from the creaking floorboards and glossolalia of ‘la charnière, pt. I’ to its echo in ‘mistakes & continue’, the album fleets from incredible chamber music redolent of Meredith Monk in ‘woe are we’ to the small sound inception of ‘a unit has no unity’, and hushed but guttural plucks reminding to Lolina in regression on ‘indigo’, with precise but free avant-classical virtuoso works such as ‘study of a flame’ hailing her background working with Antoine Bueger, contrasting with the something like darker, concentrated echo of Heather Leigh in the lust of her title piece.
What a stunning record?
Boomkat Product Review:
Beautiful maiden opus by cellist/composer/sound artist Ecka Mordecai, inviting listeners to drift an oneiric inner world of finely pruned inspirations from Renaissance chamber music, free improv and concrète nuance for Café Oto’s OTOROKU label.
Wreathing cello, horsehair harp, violin and field recordings to the theme of la charnière - ‘hinge’ or ‘pivot’ in french - Mordecai binds myriad strands of practical research and performance into a gorgeous, wilting bouquet of ideas on ‘Promise & Illusion’. A peripatetic soul who has stealthily moved between various nodes of the UK’s musical sub terrains, from roots playing viola de gamba in a Stafford renaissance group, to performance art studies in Brighton, thru stints in Salford and Scotland, and playing with Andrew Chalk & Tom James Scott in Circæa, or more recently in the Mordecoli duo with Valerio Tricoli; Mordecai has bided her time to now draw upon a rich repository of experience that lends critical depth to her songcraft’s metaphysics and preternatural ability to join dots between hypnagogic folk, smoking jazz, and crackling embers of experimental classical.
‘Promise & Illusion’ is a remarkably accomplished recording that finally yields Mordecai’s definitive document to a scene that's long known she had something special in her, and it was only a matter of time before it was ripe for release. With exquisite control of tongue-tip tone and torchlit familiarity of shadowplay, she tells a gripping story that bends time and space to her will. Lemniscating from the creaking floorboards and glossolalia of ‘la charnière, pt. I’ to its echo in ‘mistakes & continue’, the album fleets from incredible chamber music redolent of Meredith Monk in ‘woe are we’ to the small sound inception of ‘a unit has no unity’, and hushed but guttural plucks reminding to Lolina in regression on ‘indigo’, with precise but free avant-classical virtuoso works such as ‘study of a flame’ hailing her background working with Antoine Bueger, contrasting with the something like darker, concentrated echo of Heather Leigh in the lust of her title piece.
What a stunning record?
Boomkat Product Review:
Beautiful maiden opus by cellist/composer/sound artist Ecka Mordecai, inviting listeners to drift an oneiric inner world of finely pruned inspirations from Renaissance chamber music, free improv and concrète nuance for Café Oto’s OTOROKU label.
Wreathing cello, horsehair harp, violin and field recordings to the theme of la charnière - ‘hinge’ or ‘pivot’ in french - Mordecai binds myriad strands of practical research and performance into a gorgeous, wilting bouquet of ideas on ‘Promise & Illusion’. A peripatetic soul who has stealthily moved between various nodes of the UK’s musical sub terrains, from roots playing viola de gamba in a Stafford renaissance group, to performance art studies in Brighton, thru stints in Salford and Scotland, and playing with Andrew Chalk & Tom James Scott in Circæa, or more recently in the Mordecoli duo with Valerio Tricoli; Mordecai has bided her time to now draw upon a rich repository of experience that lends critical depth to her songcraft’s metaphysics and preternatural ability to join dots between hypnagogic folk, smoking jazz, and crackling embers of experimental classical.
‘Promise & Illusion’ is a remarkably accomplished recording that finally yields Mordecai’s definitive document to a scene that's long known she had something special in her, and it was only a matter of time before it was ripe for release. With exquisite control of tongue-tip tone and torchlit familiarity of shadowplay, she tells a gripping story that bends time and space to her will. Lemniscating from the creaking floorboards and glossolalia of ‘la charnière, pt. I’ to its echo in ‘mistakes & continue’, the album fleets from incredible chamber music redolent of Meredith Monk in ‘woe are we’ to the small sound inception of ‘a unit has no unity’, and hushed but guttural plucks reminding to Lolina in regression on ‘indigo’, with precise but free avant-classical virtuoso works such as ‘study of a flame’ hailing her background working with Antoine Bueger, contrasting with the something like darker, concentrated echo of Heather Leigh in the lust of her title piece.
What a stunning record?
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Boomkat Product Review:
Beautiful maiden opus by cellist/composer/sound artist Ecka Mordecai, inviting listeners to drift an oneiric inner world of finely pruned inspirations from Renaissance chamber music, free improv and concrète nuance for Café Oto’s OTOROKU label.
Wreathing cello, horsehair harp, violin and field recordings to the theme of la charnière - ‘hinge’ or ‘pivot’ in french - Mordecai binds myriad strands of practical research and performance into a gorgeous, wilting bouquet of ideas on ‘Promise & Illusion’. A peripatetic soul who has stealthily moved between various nodes of the UK’s musical sub terrains, from roots playing viola de gamba in a Stafford renaissance group, to performance art studies in Brighton, thru stints in Salford and Scotland, and playing with Andrew Chalk & Tom James Scott in Circæa, or more recently in the Mordecoli duo with Valerio Tricoli; Mordecai has bided her time to now draw upon a rich repository of experience that lends critical depth to her songcraft’s metaphysics and preternatural ability to join dots between hypnagogic folk, smoking jazz, and crackling embers of experimental classical.
‘Promise & Illusion’ is a remarkably accomplished recording that finally yields Mordecai’s definitive document to a scene that's long known she had something special in her, and it was only a matter of time before it was ripe for release. With exquisite control of tongue-tip tone and torchlit familiarity of shadowplay, she tells a gripping story that bends time and space to her will. Lemniscating from the creaking floorboards and glossolalia of ‘la charnière, pt. I’ to its echo in ‘mistakes & continue’, the album fleets from incredible chamber music redolent of Meredith Monk in ‘woe are we’ to the small sound inception of ‘a unit has no unity’, and hushed but guttural plucks reminding to Lolina in regression on ‘indigo’, with precise but free avant-classical virtuoso works such as ‘study of a flame’ hailing her background working with Antoine Bueger, contrasting with the something like darker, concentrated echo of Heather Leigh in the lust of her title piece.
What a stunning record?
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