By Amanda Nordqvist
At times mixing desperately emotional dissonance with the slow churning of the cello, the Berlin-born brothers behind CEEYS, Sebastian and Daniel Selke, have released their album and photography project – Concrete Fields. A reflection on their background, growing up in the GDR, the album offers a lifetime of vivid sentiment and imagery, and I am immediately intrigued by the conversation the brothers seem to hold throughout it – a constant discussion between the cello and the piano, at times seemingly almost disagreeing, but always supporting one another.
The introduction, Based, is a solemn but delicately confident track that sets an immediate scene, and gently carries into its sequel, a first reminder that shows just how balanced this album is – cello and piano, panning back and forth, each allowed its own voice. The next track that really jumps out at me is the phenomenal Lumen – it moves and sounds like a memoir, a eulogy, the way it speaks and curves and hesitates. It breaks my heart and glues it back together all at the same time, and leaves me completely vulnerable as the next track takes form – and Rueber is so unexpected and raw that it takes me several replays to even know where to begin. There are dimensions within dimensions in this track and it is such a finely crafted piece of art that I find myself out of words to describe it.
The following tracks provide comfort in their hesitant flickering, piano and cello growing steadily, gaining confidence from each other. The album finishes with a second version of Rueber, and so, expertly told, with searing honesty and vulnerability painting the backdrop for each track, the autobiography that Concrete Fields really is comes to an end.