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Mariecke Borger

Mariecke takes you along into her world with a voice that has been praised in several reviews since she was fourteen; a voice in a million. The songs are not full of big words and exaggerated emotions. No, they are indeed the little stories that often go unnoticed in daily life. The songs are apparently from another time - the 70s influences are unequivocal.

'Through my eyes' has become a grown-up singer-songwriter album that will surely not look unbecoming on the shelves of the record store next to albums of Gillian Welch, Rosie Thomas and Lisa Hannigan.
Quotes of people who used to work with Mariecke:

Bertolf:
"Mariecke Borger writes warm, catchy and narrative songs. The songs which seem simple at first hearing always get a surprising twist which ensures the listener doesn't want to miss a moment."

Eelco Grimm:
"The first time I heard Mariecke sing it was as if I was nailed to the ground. She was sixteen years old and sang all those compositions of her own of which you'd swear you'd known them for years. From that moment I have been following her and whenever I hear her, goosebumps or even tears are never far away."

Minco Eggersman:
"A voice in a million... Absolutely beautiful, you come across such a voice only a few times in your life."

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at the close of every day

AT THE CLOSE OF EVERY DAY
monsters

following eight intense years, tens of (international) tours with bands like 16 horsepower and karate, five exclusively packaged albums, a live cd and dvd recorded at brussels’ ab club and a vinyl ep, the sabbatical announced itself, signifying that the time for other business had come: axel continued his studies to become a physician, got a job, bought a home and chose to spend more time on his family. also minco felt the need to focus his attention elsewhere, as his solo career began gathering steam. he has become a soundtrack composer, while also his recent solo albums hamden and reservoirs have gone far from unnoticed.

while the sabbatical was only intended to last a year, the end of 2012 was in fact the first opportunity the duo found for a retrospective. this was precisely ten years after their debut zalig zijn de armen van geest was released – receiving positive acclaim worldwide and establishing the duo as one of the archetypes of what is now known as indie-rock or post-rock, together with bands such as pedro the lion, low and damien jurado. it’s 2013 now, and at the close of every day is back with fresh produce, entitled monsters – an album with fifteen of their best, previously unreleased and hard sought after songs.

the new night music

on this new record, at the close of every day is again facing its paradoxes. a new album, yet containing earlier work – perhaps their best so far and yet misleadingly titled monsters? a winter record released in spring? the abstract underwater photography was made by the renowned japanese photographer fukuma umi and yet fits this raw, earthly record. and that’s only the outside.

the true paradoxes reside on the inside of singer/drummer minco eggersman’s universe, into which the listener receives an awkwardly intimate view. thematically, monsters is characterized by retrospection and acquiescence to the future, despite the uncertainties of the present. monsters stands out specifically because of the ever-present and much-acclaimed coherence in at the close of every day’s work.

the urgency of zalig zijn the armen van geest resurfaces, while the warm copper akin to if you spoke to me breathe timelessness. from de geluiden van weleer we recognize the bare, rudimentary pop (on ‘t hellend vlak, featuring spinvis), balanced with the roots influences of september grass in the sound of someone watching me version with 16 horsepower’s david eugene edwards. all of this wraps up in the spirit of ‘the new night music’ – the term often used to describe axel and minco’s music, as becomes clear in the acoustic fingerpicking of hallways as well as in dear friends kettel’s remix of zalig zijn de armen van geest.
monsters

in passing, monsters refers to all older albums of at the close of every day, still it’s a full new album of its own, aided by the wonderful photography to provoke a tranquil kind of euphoria. thanks to work that was not released before (carnivore, monsters and two doe maar covers is dit alles and pa), and work that was only available through several european and american compilations (high school lovers usa, again i need to break your heart and under the milky way), this album is the perfect final chord to ten years of at the close of every day. still, this is not the end of a career, but rather the perfect way for a new generation to get to know the band, and for loyal fans to complete their collection.

atcoed in days gone by

in 2002, atcoed made their debut zalig zijn de armen van geest, which was received well worldwide and was released in seven different versions (from usa to norway and from the uk to switzerland). the band received a cult status with the 2004 album the silja symphony, released in europe, japan and israel, which was named album of the year by vpro’s 3voor12 (the first 3voor12 award). in the same year, at the close of every day presented their live cd/dvd the sound of someone watching me (registered live at brussels’ ab club during their european tour with 16 horsepower, and featuring david eugene edwards on guitar on the song september grass). in addition, singer/drummer minco released his first solo album the wagon fair during the same year.
the fully dutch language hymnal de geluiden van weleer, received very well in the netherlands and Belgium, was released in October, 2005. at the close of 2007, remix album leaves you puzzled appeared, on which friends from the electronica world such as styrofoam, solex and donato wharton carefully deconstructed and reassembled a number of selected songs from previous albums. finally, in 2008, to worldwide acclaim, the duo released their wonderfully titled troostprijs, expressing very succinctly the ‘consolation prize’ that at the close of every day offers its listeners.