why we love this
Taking inspiration from the Baroque, but enriching it with a contemporary breath. The fully acoustic recording allows the most delicate sounds of the strings to ring out, both those plucked with the pad and those pulled with the bow. A sweet harmony in itself.
about the record
Sweet Harmony is the first collaborative album of Danish artists Cæcilie Trier (CTM), Jakob Littauer, and Mads Kristian Frøslev as TLF Trio.
Chamber music for cello, piano and guitar; moving between written composition, improvisation and deconstruction; channeling free jazz and minimalism and playing with the stiltedness of Central-European Classical of the Late Renaissance and Early Baroque.
Named after the 1991 hardcore rave classic by Liquid, this acoustic almost beat-less album contains music that is more sculptural than narrative and that fluidly shapeshifts from being an object in the room to being the room itself – just as Louise Lawler’s distorted image from the Stedelijk Museum that adorns its cover.
- 1 - Passacaglia 4:10
- 2 - Late August, Early September 4:31
- 3 - Suite X 6:14
- 4 - Trio A 2:40
- 5 - David 3:46
- 6 - Song 4:44
- 7 - Lively, Persistent 2:00
- 8 - March-like, Wild 5:09
- 9 - Pit Music 2:17
- 10 - Sweet Harmony 3:44
€25,20
in stock
- 1 - Passacaglia 4:10
- 2 - Late August, Early September 4:31
- 3 - Suite X 6:14
- 4 - Trio A 2:40
- 5 - David 3:46
- 6 - Song 4:44
- 7 - Lively, Persistent 2:00
- 8 - March-like, Wild 5:09
- 9 - Pit Music 2:17
- 10 - Sweet Harmony 3:44
why we love this
Taking inspiration from the Baroque, but enriching it with a contemporary breath. The fully acoustic recording allows the most delicate sounds of the strings to ring out, both those plucked with the pad and those pulled with the bow. A sweet harmony in itself.
about the record
Sweet Harmony is the first collaborative album of Danish artists Cæcilie Trier (CTM), Jakob Littauer, and Mads Kristian Frøslev as TLF Trio.
Chamber music for cello, piano and guitar; moving between written composition, improvisation and deconstruction; channeling free jazz and minimalism and playing with the stiltedness of Central-European Classical of the Late Renaissance and Early Baroque.
Named after the 1991 hardcore rave classic by Liquid, this acoustic almost beat-less album contains music that is more sculptural than narrative and that fluidly shapeshifts from being an object in the room to being the room itself – just as Louise Lawler’s distorted image from the Stedelijk Museum that adorns its cover.
