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mstph
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mstph Sharp sounds, great atmosphere 🔥
First songs is very cool. Nice album guys 🍸 Favorite track: Through the Broken Edge of Tiles.
Le Morte d’Abby
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Le Morte d’Abby A great mix of melody and rhythm. A complex chill. An enjoyable album. Favorite track: Winter.
gtlokeb (aka: Hverheij)
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gtlokeb (aka: Hverheij) This album opens to the Champaign bubble of innovative electro. Edges give warning that to drink of it will lift you higher. The danger of its intoxication sparkles through tracks that follow. You're in for a great run and it's heady fun. This chalice from Marie's palace has the brew that is true! Favorite track: A Tide of Song.
Belial Pelegrim
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Belial Pelegrim Marie never ceases to amaze me with her ability to craft such beautifully imagined electronics coupled with great melodic flair. Wonderful music on this album. Favorite track: Winter.
ecb5
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ecb5 love this album
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about

Echoes is the gorgeously composed three track Triplicate Records debut of Berlin musical wanderer Marie Wilhelmine Anders. Her training in melody and aptitude for constructing fabulous beats are immediately apparent, and no time is wasted over the brief run-time in enticing you to get up and dance to the freshness. It's a level of confidence and professionalism in one's craft seldom heard, a trio of instant classics waiting to be discovered. So discover it.

50% of proceeds for "Echoes" will be donated to
www.rescue.org

"The International Rescue Committee (IRC) helps people affected by humanitarian crises—including the climate crisis—to survive, recover and rebuild their lives. Founded at the call of Albert Einstein in 1933, the IRC is now at work in over 40 crisis- affected countries as well as communities throughout Europe and the Americas. We deliver lasting impact by providing health care, helping children learn, and empowering individuals and communities to become self-reliant, always seeking to address the inequalities facing women and girls.“

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INTERVIEW
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George Ernst aka Suncastle: I've played this EP about 10 times and I absolutely love it. Do you stop working on songs when you're 100% sure that they're done, or do you do an Aphex Twin and stop when you get bored?

MWA: Thanks, that sounds great! - No, I never work on music that starts to bore me. That doesn't happen.

I stop when I feel things are 100% done. Sometimes I take a break when the music isn’t progressing the way I want and continue later. I usually approach a track with multiple concepts and ideas and I'm always trying to do something new, something I haven’t done yet. Things went a little easier on the three tracks of "Echoes", but I never got bored here either.

GE: Can you tell us about some of your favorite musicians and bands?

MWA: It's going to be a long story ;) - My musical DNA has been shaped since childhood by the long pieces of early Genesis ("Supper's Ready") and Supertramp (album “Crime Of Century"), which are very classical. Then my study of composition led me to the works of Bernd Alois Zimmermann and John Cage and after studying Cage extensively, I came to the conclusion that logically there could be no composition after Cage. After that, improvised music, free jazz, and experimental electronic music was my creative field for a few years.

I've only been making electronic music, as it is here with "Echoes" or with my previous albums and remixes, for a relatively short time. Colleagues often said to me: "What you're doing sounds like..." to me and then I listened to it and often thought "wow"!

There are a few artists I can name, but there are always new ones and I get to know something new and exciting almost every day. To be specific, it's Underworld's technoid pieces that absolutely fascinate me; in Jori Hulkkonen I find the expanded and freely developed organic forms like in progressive rock; there is Phil Western (who unfortunately died much too early), whose entire work I would like to explore someday (album “No Love Lost"!), definitely, also Aphex Twin (the album “Syro“), early James Blake (who now drifts very much into the song-like, what I'm not interested anymore), Sevdaliza had a big influence on my album "Andersworld“; there are producers like Stiver, who moves between dubstep and techno: absolutely fascinating! Sunchase - from Kyiv - who with his lucid drum and bass albums writes musical stories and whose sound is simply the best I've ever heard (God bless him and his loved ones). Last but not least, I have to mention colleagues like Mar io and Cie, whose agile tech-house and electronic tracks are always heavy influences for me.

GE: Are you from Berlin originally? How has the music scene there influenced your work, if at all?

MWA: Yes, I grew up in East Berlin and moved to West Berlin a few months before the Wall came down. Later I lived in Stuttgart for a few years, where I finished my music studies and was very active in the quite broad improvised music scene.

I wouldn't say that the Berlin scene has any influence on me. There are only a few points of contact. if so, then mostly they come about via my musical life on the Internet or through cooperation with the record labels. I love to live and work in solitude. (Btw: This is the moment when like to tell the story of how I was in the “Tresor“ with friends in the early 90s and couldn't stand it for 10 minutes. Too many people. I can't take that ;) )

The basis of my circle of colleagues comes from a German internet forum for electronic music ("Technoforum") and a lot happens via Soundcloud. Also via the Female Pressure network, there are a few good and supporting contacts. My personal experience is, that you can get to the musical results much better and faster working together online than if you meet in person.

GE: What are you doing when you're not making sick beats?

MWA: I teach classical piano. I am an enthusiastic piano teacher and have been in the profession now for 25 years. I am a freelancer and love to put my own piano practice and knowledge at the service of the students.

GE: Can you tell us one thing you love about the process of composing, and one thing you hate?

MWA: I love putting my music together in the DAW. I'm a tinkerer at heart. Taking a sound and playing around with it, letting my imagination guide me on the one hand - because I always want to express something specific with my music - but also on the other hand being surprised by coincidences and the results of experiments, it all works very nicely in a DAW and to produce has an ecstatical power for me. Aside from hating performing gigs (which I haven't done since 2005), there's little I don't like about making music. Maybe recording vocals. I find editing the recordings, building the sounds and samples from them much more exciting (for instance you can hear them in “A Tide Of Song“).

GE: Did you realize you'd made an instant classic when you finished 'A Tide of Song'? I mean you must have, right?

MWA: Now, of course, I have to say yes ;) But seriously: that was one of those really ecstatic nights I just described when I produced this track, and I remember it very well. It was New Year's Eve 2021 and I was heartbroken because recently imposed Corona restrictions prohibited partying with friends and I felt very lonely and very let down on this special evening. Then - in contrast to my personal mood - this beautiful piece of music with the melancholic-uplifting mood came into being. I posted a small excerpt of it on Instagram that night. So, my answer is: YES :)

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REVIEW
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Marie Wilhelmine Anders' triumphant Triplicate debut 'Echoes' consists of three thoroughly hypnotic & beat-heavy compositions, distinct in the manner of their construction, but consistent in their elegant joyousness. The crunchy and quirky percussion's aforementioned hypnosis is an obvious immediate takeaway, yet it's the clever, moody atmospheric melodies that threaten to steal the show.

The excellent opener wastes no time screwing around. A sense of immediacy permeates the air as Anders works her magic into laying out a tight and compelling beat, supplemented by an upwards crawl of melodic taps. Shaded against faint, evolving drones, it all makes for a rather otherworldly tune, every bit as otherworldly as an ethereal title like 'Through the Broken Edge of Tiles' would imply. This is a great tune to open with. It's a head-turner and fun tune to revisit over and over, though its two lengthier siblings are mercifully equally blessed with the artist's musical expertise.

Winter offers an altogether quieter and more contemplative start to the proceedings, enveloping you in a faraway snow-shower of arpeggi and warbling 80's synth bass squelches. Mildness soon gives way to edge and complexity, the techno-tinged echo-laden (OH Echoes... I just got that...) percussion builds and builds and builds until the momentum accumulated makes the track feel like it's going to overheat or something, contrary to the icier imagery conjured by the title, though it's not until the halfway mark where it truly comes into its own. Building upon promises of a powerful drop subtly foreshadowed in the build-up, we're treated to a sublime and breakbeat-backed full-kit percussion blizzard set to soaring synth-strings anchored by the ever-present bass squelch. In a short EP, stuffed to the brim with highlights, Anders' compositional skills truly take to the skies here.

Finally, we arrive at 'A Tide of Song', the last piece of the Echoes continuum. Recalling the immediacy of the opener, but carrying over the propulsive broken beats sunny sublime peaks of 'Winter's heights in the bright melody, this instantly feels like a classic staple of dance music I should be kicking myself for failing to remember. This is where Anders' background in early musical training truly shines, through a starry array of high octane beats and breathy synth-coated vocals keys, it threatens to outshine the two wonderful pieces that came before it, but on balance, should be considered another fabulous part of an endearingly fabulous record. Anders has put together a succinct, yet a stellar three-piece suite of marvels here, sleeping on 'Echoes' would be quite the blunder.

George Ernst
Triplicate Records

credits

released May 11, 2022

Written & Produced by Marie Wilhelmine Anders
Track 1 Mastered by Marie Wilhelmine Anders
Tracks 2 & 3 Mastered by Michael Southard
Artwork by Thomas Lutz with design elements by Bryan Kraft

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Marie Wilhelmine Anders Berlin, Germany

Marie is a wanderer in music.
Musically and instrumentally trained since her earliest childhood she played keys in a punk band, created sound installations and studied classical composition at the University Of The Arts Berlin. In 2005 she began publishing her new electronic music, which is influenced by electronica, techno, and ambient music, under the pseudonym Marie Wilhelmine Anders. ... more

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