about the record

Belgian electroacoustic artist Elisabeth Klinck enters into a deeper dialogue with herself on Chronotopia, taking a more song-oriented approach and 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.

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 on Picture a Frame, her sophomore album responds to it 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 built on 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 interplay of voice and violin, reflecting her 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 she invites her audience is a place where sound becomes touch, time bends like light, and every moment carries the thrill of discovery.