"ecoegoe breaks down conventions with startling twists of composition, abstracting the common gestures of playing instruments from the sounds they produce. A thoughtprovoking exploration of auditory dialects." Objects And Sounds 2024

"Sine steder var den danske avantgarde-kvartet mocean, hvis hovedperson er bassisten Mark Ibsgaard Gregersen, meget tæt på at formulere det uhørlige som musikalsk strategi. Så stram, så tyst, så præcist og så indlevet var ensemblets lavmælte modernisme, der bevægede sig i et rum fyldt af små intervaller, diskrete dissonanser og klangmønstre, som bestandigt tøvede med at blive til egentlige flader. Skulle man pege på noget tilsvarende, kunne det være amerikanske Morton Feldmans værker for strygere, som også betjener sig af samme tentative strategi: enkle tonale figurer, nærmest fragmenter, der gentages, vendes og drejes på forunderlig vis. Konstellationen bas, cello og to altsaxofoner hører man ikke ofte. Men i tilfældet mocean forekommer netop de fire instrumenter aldeles indlysende, ja uomgængelige. Strengeinstrumenterne skabte et grundlag, blæserne kunne agere på med deres forfinede klange, som indimellem blot var lyden af luftstrømmen og messing, en afsøgning af saxofonens præ-tonale register. Materialet bestod af en serie korte kompositioner, der hver især havde et skarpt fokus, hvad enten det var en melodi, en stemning eller en musikalsk instruktion som for eksempel crescendo. Samspillet var forbilledligt." Fem Stjerner i Politiken

“Exhilarating debut album from Mark Ibsgaard Gregersen, the up and coming Danish double bassist and composer who helms this ecoegoe project. Though a new name to us, he seems to be an active member and rising talent in the Copenhagen jazz and experimental scene, quietly issuing this debut release on his freshly minted imprint, Cairecords. Joined by a pair of saxophonists, a trio of percussionists and a synth player, Gregersen leads his septet on two side-long journeys of hypnotizing ambient-jazz. Side A track “Kissing” opens with the interplay of slowly exhaling saxophones and Gregersen’s minimalist bass line, soon to be blanketed by the purring synth and the gently knocking percussionists. Eventually gaining steam, the septet bounce off each other like slowly heated molecules, coming to a state of interlocked rhythmic intensity. The results come close to the ecstatic grooves of Joshua Abrams’ Natural Information Society, performed with less rigidity, though we can’t also help but hear the hypnotic elements of Don Cherry’s adventures in Europe in the early ‘70s. Side B continues the acoustic motifs from the first side, though the synths leap to the forefront here, the whole track likely embellished by some digital processing done after the fact. It’s certainly the most compelling of the two sides, the acoustic and digital elements become tangled up in a gloriously heaving mass that blurs the line between the two worlds. It damn near sounds alive! Its best to let this one completely subsume you. Incredible debut work. [...] Do not miss this one." Audiopile 2024

“Double bassist Mark Ibsgaard Gregersen’s :”ecoegoe” is a stunning album that confounds the acoustic/digital divide. Made with an ensemble of jazz-savvy players, the resulting audiography maps an uncanny valley somewhere between “processed” and “performed.” Beguiling & beautiful. RIYL: Jan Jelinek, Joshua Abrams, Milford Graves, and Carl Stone.” Seance-Centre 2023

“Musikken holder hele tiden retningen, som naturen gør: Den passer sig, så det er alt nok og oveni fint spillet og klang- som lydligt udført” Jazzspecial no. 187

“Det lyder som moderne kompositionsmusik, der ret tidligt er drejet væk fra hovedtrafikåren og er kommet ind på en bumlet marguerit rute. Det er sanseligt opløftende.” Jazznyt 2023

“et smukt bølgende, tyst og gradvist samlende lydstykke ved Mark Gregersen (b), som havde allieret sig med tre klangfordelte tromisser, to saxofonister og en keyboardist, hvilket fængede som det absolut originale indslag” Jazzspecial no. 182