Danish indie-pop trio Efterklang have formed a new quartet with Finland’s finest in improvisational percussion, drummer Tatu Rönkkö, for a collaboration dubbed Liima. The project debuted at Finland’s summer Out Festival in 2014. Liima’s dreamy soundscapes float in familiar but distant Efterklang fog complemented by haunted voices and organic percussion that scratch through the exterior of former compositions.
Copenhagen’s chilliest dream act Efterklang have been making music for 15 years, and the three childhood friends Mads Brauer, Casper Clausen, and Rasmus Stolberg have recorded four studio albums, currently signed to the 4AD label as well as their own tiny Rumraket. With a cascading cast of guest members, their debut album Tripper (2004) was recorded with a 10-piece ensemble full of orchestral swells and storyline splashes. Through the years, Efterklang’s mixdowns have admirably involved the work of prominent producers like Darren Allison of Spiritualized, and Gareth Jones (Nick Cave, Depeche Mode, Einstürzende Neubauten), setting a consistently high standard for their releases.
After winning the IMPALA European Independent Album of the Year Award, for their third Magic Chairs (2010) album, Efterklang went on to make career history with their best received album yet, the conceptual Piramida (2012), which was later linked to their live album, The Piramida Concert, and a documentary on their exploration of the same ghost town of Spitsbergen, Norway.
Since going on hiatus in 2013, the collective has launched the radio station, The Lake, and begun to collaborate within the construct of bands such as Liima, with percussionist Tatu Rönkkö. Drummer Rönkkö, of Finland, has worked on inumerably diverse projects, including collaborations with groove-jazz band Auteur Jazz, jazz trio Elfantree, and avant-punk trio Skalle & Sharon.
Rönkkö’s latest series of monthly improvised concerts began in August 20013, see the percussionist began playing in people's kitchens with the idea of bringing people together in an intimate and familiar setting away from the formality of a regular concert. Finding the kitchen’s “voice”, he improvises using only objects found within each particular space, providing a unique experience which breaks down the barrier between musician and audience.