ECHO IMAGE

After a long period of silence, the Fredrikstad-based Norwegian synthpop project Echo Image re-emerged in 2021 with Walk My Mind and a series of carefully released singles that signalled a renewed creative phase. With new material now taking shape, the project is moving forward with a more reflective and personal perspective shaped by time, distance, and experience.

Britta Pirkko spoke with Pål-Magnus Rybom about Echo Image’s return, the gradual path from standalone singles to a new album, and how his creative process has evolved over the years.

Echo Image had been inactive for quite some time before Walk My Mind was released in 2021. What had to fall into place — creatively or personally — before you felt ready to release new music again?

After Echo Image went quiet for a long period, it wasn’t one single thing that needed to fall into place before returning — it was more a slow alignment of life, perspective, and creative honesty. For a long time, making music felt tied to expectations: who I was supposed to be, or who I used to be. Before releasing new material again, I needed space to confront the past — and the silence that followed it. Walk My Mind was released when that pressure finally lifted, and the music felt honest again.

Since then, you’ve released a series of singles — Of Truth, Mono No Aware, and Madsong — rather than moving straight into an album. Why did working in single releases make sense for you at this stage?

Releasing singles rather than moving straight into an album felt like the right step at this stage. Each track captured a specific emotional state rather than a chapter in a fixed narrative. Working with singles allowed those moments to exist on their own, without forcing them into a larger concept too early. It also gave me time to reconnect with listeners gradually, in a way that felt grounded and sincere.

How has the way you create music changed over the years, both in terms of technical workflow and emotional approach?

When I think back to making music around the turn of the millennium, the difference isn’t just emotional — it’s also technical. Back then, the workflow was shaped by limitations: fewer tools, slower processes, and a constant need to commit early. Today, I have access to far more resources and equipment, which allows for a deeper and more exploratory way of working. The technical side is more flexible and precise — hardware, software, and studio setup all working together — but always in service of emotion, texture, and intention. I’m more comfortable letting ideas evolve, revisiting sounds, and refining arrangements over time.

Distance often changes how artists see their work. Do you find yourselves being more patient, more critical, or more decisive now compared to the early days?

Distance has changed how I listen to my own work. I’m more patient, but also more selective. In the early days, momentum often dictated decisions. Now, time is part of the process — stepping away, returning, listening again. That distance helps me recognize when something truly resonates, and when it doesn’t. In that sense, I’m both more critical and more decisive than before.

The recent releases reached both fans and people just discovering Echo Image today. How important was that reaction in shaping your decision to move forward with a new album?

The response to the recent releases played an important role in deciding to move forward with a full album. Hearing from long-time listeners, alongside people discovering Echo Image for the first time, confirmed that the music still connected — not as nostalgia, but as something alive and present. That response gave me the confidence to think in longer form again.

You’re currently working on a new album. What defines the process — and who are you working with?

The album I’m working on now is titled My Shadow, My Echo And Me. The “Shadow” reflects difficult experiences and memories that never fully disappear. The “Echo” is the music itself — the creative force that made it possible to keep going. And “Me” is what emerged on the other side: a stronger, more reflective version of myself. This time around, I’m incredibly fortunate to be surrounded by a strong team. Stephan Groth (Apoptygma Berzerk) has brought perspective and creative trust. The songs are mixed by Einar Kristiansen Five, and Linda Eikemo contributes deeply emotional backing vocals.

Looking ahead, what can fans expect from the new album?

My Shadow, My Echo And Me is meant to feel like an inward journey rather than a statement. I hope listeners experience the album as a space for reflection — where memory, creativity, and identity intersect. If it invites people to recognize their own shadows, their own echoes, and who they have become because of them, then the record has fulfilled its purpose.

Britta Pirkko
11/02/2026