In Parallel Emika, Paul Frick

• 1 In Parallel I 03:26
• 2 In Parallel II 02:32
• 3 In Parallel III 04:18
• 4 In Parallel IV 03:24
• 5 In Parallel IV (Meeting Parallel Rework by CNCPT) 07:03
• 6 In Parallel III (Shaking Parallel Rework by CNCPT) 05:40
• 7 In Parallel II (Glitching Parallel Rework by CNCPT) 02:08
• 8 In Parallel I (Raining Parallel Rework by CNCPT) 06:06
• 9 In Parallel III (Parallel Line Rework by CNCPT) 04:24
• 10 In Parallel II (Beating Parallel Rework by CNCPT) 07:30
• Total Runtime 46:31

Info for In Parallel

Emika & Paul Frick collaborate and make magical music from pianos, a vibraphone robot and synths that play themselves.

Their music feels like rainbow drops, raining colour, light bouncing from crystal gemstones. Reminiscent of Erik Satie, Laruie Anderson, with a melodic glitchy nod to Aphex Twin.

This is music that channels some seriously beautiful light. It’s a great record to both wake up to and reflect under the moonlight.

CNCPT brings the Berlin experimental Techno vibes, turning them into what they perhaps should have always been (if Emika & Paul Frick weren’t so in love with sound art minimalism). A perfect match for the flipside.

Emika & Paul Frick collaborate and make magical music from synths that play themselves (Emika) and extended piano layers (Paul Frick). Emika began her explorations with programming synths to play on their own earlier in 2020 and released an album of these solo pieces (Chaos Star). Very much into the flow of synths playing in her studio all day long while she played with her daughter and drank endless cups of coffee, she decided to capture some midi files and send them over to Paul. A match made in heaven, Paul began to record his signature edgy piano layers, bringing glitchy rhythms and bass tones to the mix. The fact that Paul recently started to work with the Versio Duo glockenspiel robot, manifested as well on the record: metal, felt, mechanical spin-offs.

Their music feels like rainbow drops, raining colour, light bouncing from crystal gemstones. Reminiscent of Erik Satie, Laruie Anderson, with a melodic glitchy nod to Aphex Twin. The music is deeply rewarding for the spirit, softly tickling our imaginations, caressing new ideas into fruition. It’s a great record to both wake up to and reflect under the moonlight. They have both been around long enough to know precisely what music with meaning feels like and exactly what to avoid. Their direct no bullshit approach to music production and the music biz, puts their creativity into a powerful position, they are original and this is music that channels some seriously beautiful light.

CNCPT is a highly talented drummer in the acoustic world and he brings all of this knowledge over when it comes to building Techno and working electronically. His reworks of the pieces made by Emika & Paul Frick bring their ambient rhythms into strong beat driven tracks that bring depth and mystery into the mix. CNCPT brings the Berlin experimental Techno vibes, adding even more unusual night-time synth patterns into the originals, turning them into what they perhaps should have always been (if Emika & Paul Frick weren’t so in love with sound art and less concerned with club music). A perfect match. A very satisfying A & B realisation.

Ema Jolly
a musician and performer also known as Emika, has a geographical track record as diverse as they come. Born in the UK of Czech heritage, she spent many musically formative years in Bristol before relocating to the equally rich sonic landscape of Berlin. Emika takes all of her roots and melds them, lending context to her narrative-driven music.

Classically trained in piano and composition, she went on to study music technology at university and worked as a sound designer before pursuing music-making full-time, a career that now manifests in the writing, producing and mixing of all of her own work. Despite her self-described "nerdy," studio-based background, she notes a major shift in her recent output evolving from the isolated nature of her self-titled debut LP to a more interactive and freewheeling piece of work in this year's acclaimed DVA, an opus dreamt up in her Berlin apartment and created entirely herself.

The character of her performances has seen an evolution as well; she excitedly describes the interaction between her sound technician, light technician and choreographer which shapes the live show she's taken worldwide. Emika emphasises the live value of her performances: she and her small crew improvise together for each show, with the result becoming totally unpredictable and a very real response to the audience at hand.

Emika describes her music somewhere at the conjunction between "futuristic storytelling, club context and classical influences"--and it's caught the attention of a slew of collaborators including Tommy Four Seven, Pinch, Nick Hoppner, Paul Frick, Brand Brauer Frick, Amon Tobin and Marcel Dettman (with whom she co-produced a song for his forthcoming record).

After spending a good part of the year travelling everywhere from America to Ukraine, this autumn will see her embark on her first headline tour in Russia, in addition to a number of gigs across Europe. As long as she continues to push her unique singer-songwriter-meets-Berghain sound, there's no sign of slowing down.

This album contains no booklet.