Tara Nome Nome Doyle is not entirely without a conceptual framework: after her debut Alchemy from 2020, which was about natural philosophy and the Vaermin, which was released two years later, on which it was about the prejudice for disgusting animals and insects, the Berlin musician now deals with an antique mythology. On Ekko, however, Doyle treats himself to greater artistic freedom, weaves rather loose threads of history around the punished EKKO, which was condemned to repeat chattering other people.
The center of the album focuses on topics such as beauty, personal development and – see Ekko/Echo – the crux or necessity to repeat your own or foreign ideas. But that sounds too theoretically and taught to here: The music of Tara Nome Doyle gently captures even without classic or natural history.
Doyle and their (handpicked and few) musicians play the Celli and Melotron, violin and piano, and every now and then analog synthesizer and flutes are used, creating chamber music that opens up in the hymn as in “I used to fly”, “Heaven in Disguise” or “Lighthouse”. Doyle’s Irish accent ensures the necessary grounding, so that the album never disappears into too essential – at least almost never: the final track “behind the clouds” in German looks as Luzid looks as if it were only held on earth from the piano attack. Music and balm for tortured souls, so for all of us.
You can find out which albums were still published in April 2025 via our monthly publication list.