Syntaks’ music evokes an infinitely expanding landscape of papery beats, sighing voices, and hills of sublime noise. In Syntaks’ world, dreams and reality blur into a melodic haze, and nothing is as it seems.
Copenhagen, Denmark-based Jakob Skott has been making music as Syntaks for years, releasing a handful of solo albums on Darla and Benbecula Records, and collaborating with Jonas Munk (his bandmate in psych/krautrock band Causa Sui) as Limp, on Morr Music. In April of 2006, Skott began making music with Anna Cecilia, first adding her vocals to a track on his 2006 album Awakes, and eventually integrating her as a full-time partner. With the addition of Cecilia, a new era of Syntaks was born, fusing Skott’s densely textured beats and production with Cecilia’s airy, wordless soprano and intuitive songwriting.
Syntaks take their cues from the ambient experiments of Brian Eno and Popol Vuh, the film scores of Ennio Morricone and John Carpenter, and the tonal depth of ‘90s shoegaze bands and early 4AD records. Each sound—from the tinkling of a piano to the snap of a snare drum—has been electronically treated, conjuring an air of unreality that belies the music’s organic construction. Syntaks’ newest record on Ghostly International, 2009’s Ylajali, is a romantic fever dream, a post-rock paean to the transportative, transformative power of sound. Syntaks wraps the couple up like a shroud, absorbing their identities in the pursuit of a heart-stoppingly beautiful vision.