Label: Hallow Ground
ここスイスHallow Groundから2023年に1st LP[Picture a Frame]を出版、バイオリンを用いた不思議なエレクトロ・アコースティックのアプローチを展開するベルギーの作家Elisabeth Klinck。今回の2ndアルバム[Chronotopia]では自身の歌声をヴァイオリンの重要な相棒として捉え、よりダイナミックで色彩豊かな音のタペストリーを構成。混沌と美しさの間を行く曖昧なメロディーのコントラストには妙な中毒性があり、単なる牧歌的には止まらないスリリングな配置も良い。ホワイトヴァイナル仕様。
After her debut Picture a frame (Hallow Ground, 2023), Belgian electroacoustic artist Elisabeth Klinck now enters into a deeper dialogue with herself.
On Chronotopia, she takes a more song-oriented approach, embracing her voice as a vital counterpart to her violin, intertwining their sounds like threads in a dynamic, multicolored fabric. The record marks an essential turning point in her artistic evolution and opens up a rich internal world. It is a tapestry of sound, emotion, and curiosity spun from—both literally and figuratively—her growing voice.
Klinck, who works as a composer and performer in theater, wrote the pieces between tours and recorded the album in the same place as its predecessor, the Spanish Pyrenees, with producer Oscar Claus. Though the outside world isn’t as explicitly reflected in the recordings as it was the case on »Picture a Frame,« her sophomore album responds to the outside world by capturing both the expansive serenity of the mountains and the frenetic pulse of life on the road. Eschewing her previous, more atmospheric and abstract approach, Klinck creates a landscape that is built on the song and filled with intimacy. Her music feels at once vulnerable and deeply human, balancing the rawness of improvisation with the careful precision of melody-led composition.
Klinck describes »Chronotopia« as a playful exploration of time—its fluidity, its constraints, and its influence on how we navigate the world. These notions reverberate through her melodies and lyrics, which dance between moments of shimmering clarity and messy, beautiful chaos. These contrasts are further accentuated by the cunning interplay of voice and violin, which itself reflects the artist’s fascination with duality and transformation. Recorded in both organic and controlled environments, »Chronotopia« blurs the lines between intuition and design. The »time-space« into which Klinck invites her audience is a place where sound becomes touch, time bends like light, and every moment carries the thrill of discovery.