For some time, Stephan Micus has been drawn by his fascination for the instruments of other cultures. It is not the creation of exotic sounding effects that interests him, but the challenge to discover new sounds and sound contexts.
The process of coasting sounds from Elmar Daucher’s enormous blocks of cut granite and serpentine steels in combination with flute and vocal music represented an entirely new experience, if only because they are not tuned like “normal” instruments, but contain most unusual tonal intervals.
Ecos is built upon this music, playing with different symbolic values of this curious sound material: on the one hand, the huge buildings that were built to immortalize their creators, thus highlighting their own insignificance, the fleetingness and fragility of their existences; those stones, piled uptowards height in order to be closer to God, were in the end extremely attached to earth, and in many cases, became covered by it. It also refers to the power or energy of some megalithic elements worshiped by remote or current religions: man addresses his prayers to a lifeless subject which, in this way, becomes the genesis of his spiritual life. Perishable/timeless, vain/magnificent, lifeless/alive, matter/spirit,… these dialectic binomials constitute the inspiration of the spirit of Ecos.