ticktock is Sebastian Zieler, Jacob Koefoed, and Jens Skovgaard.

Their version of otherworldly alternative pop takes as many of its cues from sci-fi (from Blade Runner to Iain M. Banks' Culture series) as it does from contemporary pop-producers as varied

as Timbaland and Grimes.

The result is playful and eclectic with melodies full of longing, and detail-oriented production.

The previous EP, Fault Lines, garnered support from The Fader, Clash Magazine, and BBC Radio 1 Introducing's Elise Cobain. Since then, ticktock has gone from Sebastian Zieler's solo project to a trio. A Violence of Innocence, an EP of four songs, will be their first release together: a fresh and experimental blend of genres - from 90s New Age, avantgarde rock, psych, acid house, and techno

 

It’s more than exciting to have the outsider pop band ticktock back on the block.

Sebastian Zieler, Jacob Koefoed, and Jens Skovgaard have a knack for making emotive,

inventive, and detail-oriented music.

A Violence of Innocence is a four-track EP that revels in the band’s love for creating sublime moments from disparate angles. It’s a postmodern mesh of genres with songs that warp

and mutate from start to finish. Thematically, the four tracks deal with disappointment,

hope, love, curiosity, and sex. But the red thread is a deep-rooted wish to uplift, no matter the subject matter:

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“For a while now, we’ve thought about positivity in music being a bit of a holy grail. We failed on this EP, really - life got in the way, and a break-up and stress has had to be dealt with in song form. But we’ve tried not to

off-load feelings on the listener, and instead to let them go full circle

- to have each song provide a solution to the problem it presents.”

says frontman Sebastian Zieler.

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To this end, the band has tried to sneak an uplifting element in through the backdoor- to load the music with the intention to uplift. Good friends in good moods have been enlisted on several tracks: a drunk, middle-of-the-night jam between friends provides the backbone for the outro of the title track, and the EP’s choir parts were recorded by a veritable who’s who of the Danish underground, with everyone in the room being in on the idea:

 

“We tried to play with an open hand, and to tell everyone what our intention was. Each element - from lyrics, to arrangement, and to mix -

has been loaded this way.” 

 

It’s audible in how each track morphs along the way:

The soulful outro of the title track, the ride-into-the-sunset chorus of Pregnant, the cataclysmic beauty that replaces the synthetic grit of Hatefuck, and the climatic joy of Come Anywhere.

It’s a tangible feeling throughout, and a welcome one in times with stress, anxiety, and depression as the psychological pandemics.

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