why we love this
The flickers and abrupt pauses lend themselves a certain fluency that feels as if the instruments are moving at their own free will. Guitar, strings, and piano are braided together in formations that evolve and reshape over time.
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
€28,00
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- 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
The flickers and abrupt pauses lend themselves a certain fluency that feels as if the instruments are moving at their own free will. Guitar, strings, and piano are braided together in formations that evolve and reshape over time.
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.
