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Their debut, THE GRUNEWALD CHURCH SESSION, stays true to this idea and is a first recording of the duo’s live setup in a church. Cello and a Boesendorfer Imperial are the main components.
A particularly special feature is the use of some original, restored electronic instruments made by GDR-based company Vermona back in the 70s and 80s. The tracks present the sensation of a sound-exploring performance in the inspiring atmosphere of an old ancient church.

THE GRUNEWALD CHURCH SESSION is a jam session orientated live album which feels like a sketchbook for their studio album CONCRETE FIELDS.

A subtle sense for narrative, cinematic moments pervades the whole album:

“Our studio album CONCRETE FIELDS will be a remembrance of our childhood growing up in Europe`s  largest prefab estate – Marzahn-Hellersdorf, Berlin, East Germany. In the last decade of the GDR the endless grey blocks of cold concrete, steel, and glass communicate only anonymity and oppression. On the other hand we started to learn our main instruments, the violoncello and the piano and we only dreamt of the day we could finally play chamber music together. Our first ever common classical concert we performed in a church. After the fall of the wall and during the 90s the region kept a blend of an edgy feeling of departure yet vague melancholy. We tried to capture this in some first sketchy compositions. Now, we are very thankful to present even those first ideas in understandable chronological release order as our debut and even in a musically authentic form of a live album right before our studio album: THE GRUNEWALD CHURCH SESSION.– CEEYS

THE GRUNEWALD CHURCH SESSION was written by Sebastian and Daniel Selke and recorded as one live-performance in the beginning of 2015 at the Grunewald Church in Berlin by Friedrich Stoermer. While he also mixed the session at Komet Studio it was mastered by Martyn Heyne at Lichte Studio. The single OPAL GLASS was released on 22nd of April, 2016. The album THE GRUNEWALD CHURCH SESSION was released on May 27th, 2016 in the form of a Download via 1631 Recordings (Kning Disk)


‘With The Grunewald Session, 1631 Recordings continues on their tear, having now released approximately three dozen piano-based works in a single season. This short album is the best of the recent batch.’
Richard Allen | A Closer Listen – A home for instrumental and experimental music

This sketchbook is the ideal introduction to the utterly absorbing work of two imaginative and highly accomplished musicians. The tremendous talent, impeccable musicianship, and depth of feeling they bring to this record makes it an nailed-on must-listen for any modern classical fan, an absolute gem that in my mind immediately puts them in the frame with the best of the genre.‘
Brian Housman | Stationary Travels – Music is the journey

‘They are both classically trained, but their music is different from the overwhelming stream of ‘post-classical’ music released recently. This combination of sound, combined with the duo’s skills and experience, the jam-session live setting and the well-recorded acoustics of the Grunewald church – all these details result in an outstanding album. Talk about setting a high standard….!‘
Peter van Cooten | Ambientblog

The space within is a heaven for reverb lovers, and CEEYS (Sebastian and Daniel Selke) make the most of it. With an echo as substantial and as deep as this, CEEYS know not to clutter the sound; their compositions are perfectly balanced.
A ‘loose’ vibe runs throughout the music, which is professional and yet never stiff, the performance itself likened to a slightly improvised jam session. The music never stutters with its tetris blocks of rush hour traffic. If anything, everything moves freely. That’s because it’s well-coordinated, the lights alternating between the colours and directing the flow of the music, the instruments coming and then going.’
James Catchpole | Fluid Radio – Experimental Frequencies

‘Si tratta di otto brani frutto principalmente frutto del dialogo tra pianoforte e violoncello, la cui immediatezza è ben rispecchiata dall’estemporaneità della registrazione, al pari di quell’austerità compositiva, ricercata dal duo attraverso l’impiego di strumenti d’epoca dell’allora Germania Est. Mezzi antichi e linguaggi contemporanei si fondono così in un’intima solennità cameristica.‘
Raffaello Russo | Music won’t save you

‘Incredible album, absolutely unique music. It can’t be compared to anything else.‘
István Csarnogurszky | Musicformessier

’I am fascinated by your wonderful music and sound!’
Laima Lisauskiene | RadioKC

’This is has to be in my top 10 albums of the year. I would love to see it performed live.’ 10/10
William Morris Julien

’This is a beautiful abstract masterpiece.’
Mattias Nilsson | Kning Disk