Echo Collective

Who or what are the most significant influences on your musical life and career?

Echo Collective has always been shaped by the intersection of classical tradition and modern innovation. Our work is deeply influenced by the composers we’ve collaborated with, such as Jóhann Jóhansson, A Winged Victory for the Sullen and Erasure. These experiences have shown us how classical instrumentation can transcend its traditional boundaries and enter new sonic landscapes. Additionally, our explorations of 4DSound and immersive audio technology have profoundly altered how we think about composition and performance.

What have been the greatest challenges of your career so far?

One of the greatest challenges has been bridging the gap between the classical world and more experimental contemporary music. Audiences and industry structures can sometimes be resistant to change, so advocating for immersive and unconventional formats requires persistence. Another challenge has been the practical aspect of sustaining a collective – balancing creative ambitions with logistical and financial realities.

What are the special challenges/pleasures of working on a commissioned piece?

Commissioned works come with both constraints and opportunities. The constraints – whether thematic, structural, or technical – can push us to discover new creative solutions. At the same time, there’s a great pleasure in tailoring a piece to fit a specific space, event, or artist. Every commission is a dialogue, and we find inspiration in that collaboration.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles, or orchestras?

Collaboration is at the heart of what we do. We thrive on the exchange of ideas with musicians from different backgrounds. The challenge is always finding a common language – both musically and personally – but once that connection is made, the results can be extraordinary. Working with larger ensembles, for example, requires us to adapt to our more flexible, experimental approach to fit the precision and structure of a large ensemble.

Of which works are you most proud?

Our latest project, Mirror Image, is a defining moment for us. It represents years of research into spatial audio and the emotional depth of sound. Additionally, our interpretations of works by Radiohead (Amnesiac Reworks), Jóhann Jóhannsson (12 Conversations), and Erasure (World Beyond) remain highlights of our career, as they allowed us to merge our own voice with the essence of other artists.

How would you characterise your compositional language?

It is emotional, immersive, and textural. Our music exists at the intersection of post-classical, ambient, and electronic elements. We think in terms of layers, space, and the physicality of sound, rather than in traditional harmonic or melodic structures.

How do you work?

Collaboration is key. We start with a concept or mood, often building a sonic palette before any traditional notation happens. We experiment with acoustics, textures, and spatial elements in real time, refining ideas as they emerge organically. Whether we are working in a studio or an immersive sound environment, we always leave room for discovery.

As a musician, what is your definition of success?

Success is creating music that resonates deeply with people. It’s about building meaningful collaborations and expanding the way audiences experience sound. If our work can move someone, challenge their perception, or provide solace, then we consider that success.

What advice would you give to young/aspiring composers?

Stay curious. Be open to different genres, techniques, and technologies. Don’t be afraid to step outside of the traditional classical framework and experiment with sound. And most importantly, find your voice – authenticity is what makes music timeless and will set you apart from the masses.

What do you feel needs to be done to grow classical music’s audiences?

Classical music must embrace innovation. We need to break free from rigid concert formats and engage with audiences in ways that feel relevant to today’s world. Immersive experiences, cross-genre collaborations, and new media integration can all help redefine how classical music is perceived and experienced.

What’s the one thing in the music industry we’re not talking about, but you think we should be?

The impact of an AI-reshaped world on human connection. As artificial intelligence becomes more prevalent in all aspects of our life and in music creation and consumption, there’s a risk that the deeply human aspects of artistic exchange could be diminished. Concerts and live performances will become even more crucial – not just as showcases for artistry but as sanctuaries for interhuman connection. The irreplaceable energy of shared experiences, the unpredictability of live collaboration, and the emotional resonance of physical presence are all things that AI cannot replicate. As a community, we must focus on preserving and celebrating these uniquely human elements of music-making.

What next – where would you like to be in 10 years?

We want to continue pushing the boundaries of live performance, immersive sound and composition. Expanding our work in 4DSound, collaborating with new artists and thinkers, and developing new formats for live performance are all key goals. Ultimately, we hope to contribute to a musical landscape that values deep, transformative listening experiences.

What is your idea of perfect happiness?

Being lost in sound – whether in the studio, on stage, or in nature. The moments when music transcends the self and becomes something bigger are what we live for.

https://www.echocollective.be/

Image ©Danny Willems