Featured in the Word Magazine’s

“The 12 favourite Belgian releases of Marc Jacobs (curator Bozar Electronic Arts Festival Brussels)”

Press for “Transmissions from Revarsavr

(…) a glorious trepanation (…) In these pieces Ecker and Taeggi prove masterful at crafing hidden echoes and far-off reverberations. The album peaks when those phantom noises haunt its longest track; the closer “Nanissaanah”. Here, al the sounds behind the percussion are placed upfront; which opens up Lumisokea’s tantalising sound work to let us in.” Resident Advisor

“This is an accomplished album that achieves moments of trance-like states” Fluid Radio

“a unique piece of work that pays homage to compositional visionaries while further testing possibilities bending norms” Sputnikmusic

“This record never failed to hold my attention for the whole duration – truly breathtaking stuff” Norman Records

“oozes authenticity” A closer listen

 the most impressive record we’ve heard from Lumisokea and one of the most distinctive Opal Tapes issues in ages – Recommended!”Boomkat

Press for Mnemosyne

“(…) Their intelligence is matched only by their avid curiosity, as they continue to drive sounds not to the corners of the rooms, but from them. (…) These sounds could have been made in the 60s and 70s, but they weren’t, and even now, they sound futuristic, like dreams generated at a World’s Fair. Early industrial music comes to mind, although turntables and tape splices are not part of the equation.  Mnemosyne is dark, layered and mysterious in a way that recalls Maurizio Bianchi and others of his generation.  “Risacca” is especially evocative of this era, a repeated pulse beating under a swollen drone as synthesized chords buzz and plunge.  Yet the thick bass tones of the aforementioned “Jenseits” seem to hint at an eviscerated form of grime, the skeleton left to rot on the wooden floor.  By looking to the past, Lumisokea has ended up performing not an autopsy, but a loping resurrection.” A Closer Listen


“(…) Koenraad Ecker and Andrea Taeggi’s latest full length focusses on weaving a potent sequence of fictitious memories from more electro-acoustic threads to bring us an immersive cyberpunk story both experimental and engaging. (…) With a sonic palette fast becoming all their own Mnemosyne betrays Ecker and Taeggi’s seduction by sound, passing it enthusiastically on to their listeners through fascinating productions that inspire dystopian drama without words. (…)” The Quietus

“Drone time baby! Not just any old drones though: Lumisokea have been working with recordings of such resonant acoustic instruments as gamelan and cello, and have processed and re-engineered them into the pieces you hear on Mnemosyne. Detailed electroacoustic sound caverns, pressed to vinyl on the Alter label” Norman Records

“Amorphous loops of clanked metal, sawtoothed electronic swells, smears of distorted feedback and pitch-shifted reverberation meander through this album from the Italian/Belgian project currently residing in Berlin. These sounds are mostly decentralised into ectoplasmic, emergent components without much in the way of shape or definition, with the two authors seeking dialogue through haphazard atonal forms. (…) As architects of post-industrial dislocation, Lumisokea do a fair job in their construction of a crepuscular demeanor. (…) finding company with the deconstructed techno that Mika Vainio has delivered over the years.” The Wire

“Grey-area electro-acoustic noise sculptures from Berlin-based Belgian/Italian duo Andrea Taeggi and Koenraad Ecker for Luke Younger’s Alter label. Realised over the course of two years from groundwork laid down at Rotterdam’s W.O.R.M. studio, ‘Mnemosyne’ takes shape as an occluded mass of nocturnal synthnoise meshed with masticated instrumentation, seemingly finding their way in the dark between thickets of inorganic noise, semi-artificial ambient tones and stomach-quaking sub-bass detonations. Drawing in the night from the cold, sonorous spaces of ‘Prowl’, a ghostly sequence of apparitions forms between the spare, radiant gamelan dimensions of ‘Sybil’, to the Bellows-like cranky dub infection of ‘Abri’ or ‘Jenseits’ and the ritual atmosphere of ‘Wiccan’. ‘Risacca’ offers a chink of redemptive light into the mix, only to be swept away by buzzsaw synth frequencies, and ‘Hearsay’ prostrates at the altar of Mika Vainio at his iciest.” Boomkat

“Helm further cultivates the dark and contemplative aesthetics of his Alter imprint, welcoming Berlin-based duo Lumisokea to the label. An album of explorative drone, Mnemosyne deploys more abstract structures with less cohesive, rather slow-burning beats. In most parts it was conceived during a week-long residency at Rotterdam’s W.O.R.M. studios, where the duo had access to a collection of 60s and 70s synthesizers: in combining them with heavily processed recordings of gamelan bells, prepared piano, cello and acoustic drums, they have created soundscapes of oppressive dissonance and agitating spaciousness, evoking gaping abysses.” Bleep


Interview on “Sounds of a Tired City” (2015) : here

Interview and playlist on “Subbacultcha” magazine : here

Mix for Noisey/Vice : here

“(…) Maybe Lumisokea’s the biggest discovery of this year’s festival edition (…)

(Bianca Ludewig writing at, review of Heart of Noise Festival 2014 – translated from German)


Press for “Eavesdropping on Pianists” EP (Eat Concrete 2014)

“a daring and creative bridging of the musical gap between electronic dance music and noise music (…)”

HHV magazine; full review here 

“An impressive addition to a growing discography”

The isolatarium, full review here

“It’s rare to find music that genuinely perplexes, but Lumisokea perplex with poise”

Stray Landings; full review here

Press for “Apophenia” (Opal Tapes 2014) : 

Norman Records (full review here)

“(…)The pair concoct baffling passages of dark cerebral techno with skittering, flickering, twitching electronics carving out stumbling beats like someone who’s been trapped in a bunker with no access to sunlight for the last 20 years listening to lots of early Warp records.(…)”

Belgian/Italian duo Andrea Taeggi and Koenraad Ecker isolate a diffuse mixture of techno and concrète noise with ‘Apophenia’ for Opal Tapes. Building on the decayed structures of last year’s ‘Contrapasso’ album, their latest blends the chaotic virtues of their improvisational approach with a more premeditated logic, manifesting five arcane constructions balancing abstract expression and rugged, grooving purpose. In that sense it works well alongside Opal Tapes’ boss Basic House, but Lumisokea’s rhythms are more tetchy, incendiary, liable to combust like the 3-step IDM of ‘Eleven’ or buckle and split in the scratchy, agitated torque of ‘Flares’ and the tumbling convolutions of the title track, as opposed to Ste Bishop’s oppressive mutant chug. We can imagine this record becoming a useful tool for the most fearless neo-industrial DJs.
Lumisokea return to Opal Tapes in the wake of their strong ‘Contrapasso’ release with an EP of muscular mutated techno. ‘Dotted’ opens with Emptyset-esque plunges of bass and gathers momentum with blunted toms offset by distant clanging cowbells. ‘Apophenia’ lurches forward on a disjunct drum loop, gathering squeals of tape noise on its way, and ‘Eleven’ is similarly disorientating, with a ticking clave providing a crucial point of focus amidst swirling percussion attacks. It is this juggling of strange, unpredictable beat patterns with a sense of real groove which puts Lumisokea in the lineage of the likes of Autechre and Venetian Snares, but their raw production style makes this EP a fresh and persuasive listen.



Press for “Contrapasso” (Opal Tapes 2013) :

Italian/Belgian duo Lumisokea debut on Opal Tapes with a brooding 24 minute industrial techno abstraction. ‘Contrapasso’ is a fine exercise in the relams of darkside electro-acoustic tension-and-release, blurring distinctions between “real” acoustic resonance and wave-shaped electronic sculpture whilst also grounded in the ruff and tumble of modern industrial techno. Definitely one for fans of MIles Whittaker, Kangding Ray, Yves De Mey, Pan Sonic.



Press for “Selva” :

Stray Landings

“(…) Giving its respectful nods to the lineage of musique concréte through its use of grainy field recordings and John Cage derived prepared piano, Selva manages to remain current enough through its incorporation of more contemporary dub and glitch influenced rhythms and sample manipulation. The album has some serious replay value, and there’s bound to be something special about hearing it on vinyl(…)”

– Epitonic / Steve Dewhurst

“(…) Selva is a much fuller-sounding album than its predecessor, and more fascinating for it; ‘Veltro’ and the title track stand out as particularly absorbing examples of the way the duo create seemingly endless depth through gradual layering and the appropriation of the space in which they work to provide a sense of organic derivation.(…)”

– Juno
..The title track, “Selva” is a standout piece, bridging together a frantic, disorganised drum pattern with ferocious slashes of white noise and feedback. Lumisokea ties things off in style with the aptly named “Chimera”, a frightening display of aqueous bleeps and echoing bass drums. TIP! ”

  1. De:Bug

Zusammen mit tiefen Bässen und bedrohlichen Synthiesounds erschaffen Koenraad Ecker und Andrea Taeggi eine dunkle filmische Atmosphäre, die das Album über seine komplette Länge spannend hält.”


  1. -Headphone Commute reviewhere

– featured at The Wire radio show “Rewired” (nov 8th 2012)

– featured at VPRO luisterpaal (nov 2012)

– Sonic Router
..There’s a uniquely serene choral element present in their music – which can sometimes prefer to channel a harsh kind of brutality that becomes engulfing after a little while – and on tracks like the eponymous ‘Selva’ or ‘Chimera’ you really get a feel for the kind of balance they seem to be able to excel in producing…Arresting sound design at its most engaging. ”


– (4/5)

– interview on



Reviews/Quotes for Automatons :


 Review of Automatons by Foxydigitalis here

Review of Automatons in De:Bug here

Review of Automatons from Chain DLK and one in German from

Interview with dutch radiostation “Radio6”

To have a listen, click here.

Interview with “Eindhovens Dagblad”

to read (in dutch) : click here