Punto Cero (“Point Zero”) marks the beginning and end of a journey, a journey of sound, a sound that transported us and our cat 7500 kilometers to our current home in Berlin. Punto Cero is also the point where many musical influences and ideas meet: surgically engineered dance-floor beats, Paraguayan harps, Turkish influenced melodies, Brazilian berimbau, nostalgic analog synthesizers, jazzy harmonies and touches of classical music. For example, the track “Punto Cero” which names the album is the encounter of Erik Satie with a jazz organ trio drifting from hip-hop to slow house. Inochi is a tale set in the Amazon, where Japanese koto players are jamming on a Turkish mode along with berimbaus, West-African drums, all synchronized to a mean Berliner drum machine. İstanbul’a is a dream set in the ancient city, a meander through a labyrinth of marimbas and harps, where memories and reality merge as Tuğçe Kurtiş whispers timeless secrets to our ears.
All these tracks were released as singles from 2017 to 2018, a time period when music was calling us somewhere. At the time of creating these tracks, we were an ocean away, living in a small town in the USA. Little did we know that by the time of our arrival to Berlin in August 2017, these tracks would be playing all over the city in clubs, cafes, radios, festivals, bookstores and bedrooms. This gave us a strange sense of familiarity, despite being complete newcomers to the city and literally starting our lives all over again from point zero in a new place. In retrospect, it became apparent to us that these songs, which then seemed as separate stories, were parts of a greater whole.