Lambda Celsius (or Λ°C) is the musical avatar of AC Carter: visual artist, musician, producer, and costume designer.
Λ°C is not only that, but indeed… a band, or perhaps … a B-R-A-N-D.
Lambda Celsius _the band_ currently consists of Ana Echo as the front person, Amazon’s Alexa as the DJ, Siri as (unmistakably important but under-represented) wifi-wizard + band manager, and the main driving force that allows for amplification of the Ana’s voice, Dick… the microphone.
For their 2nd album Self Titled, AC wrote, designed, recorded, produced and released through their label Scorpion Beach the record in it's entirety, while also collaborating on the single track "At Least You Make Me Feel" with R. Stevie Moore.
On their 3rd album Ana Echo and the Beauty of Indifference, AC embodies the conceptual main character Ana Echo, a "female hysteric" who vocalizes past sexual trauma and abuse. Staged in costumes designed by AC, Ana makes a critical gesture towards society, giving voice and agency to women and those who identify as queer and gender non-conforming.
AC’s sound is rooted in 80's post-punk and synth-pop. Straightforward lyrically yet whimsical, AC is influenced by queer theory and breaking down gender-norms to imagine a world outside the binary.
So far in 2018, AC performed at Big Ears Festival for the 12-Hour Drone, Athens Popfest, and at the last JV L@b of the year hosted by the one and only Jennifer Vanilla.
AC has made costumes for Jennifer Vanilla for her performance at PS1, and for Of Montreal's music video "Plateau Phase-No Careerism No Corruption".
AC has opened for artists such as Of Montreal, Algiers, Jennifer Vanilla, RaFiA, Locate S,1, and Superbody, and has worked with artists such as Eve Maret, Internet Boyfriend, and Dream Chambers.
ABOUT ANA ECHO AND THE BEAUTY OF INDIFFERENCE:
Ana Echo and the Beauty of Indifference is Lambda Celsius’ second album released through their own label Scorpion Beach. Diaristic and vulnerable, Lambda Celsius embodies their livejournal-esque avatar named Ana Echo among the other virtual personas that they embody.
Ana Echo confronts past sexual trauma and shame, questions her romantic and platonic relationships, and highlights aspects of our culture still stained with gender inequality. She performs in handmade costumes of industrial materials in a karaoke / cabernet-like set up with the virtual home device Alexa as the DJ, singing her own material as both theatrical and deconstructive.
The album is not only concerned with the songwriting but also the sonic object (ie CD, vinyl, or cassette) in which music is distributed from. Why not do a few variations on a theme? Inspired by minimalism, fluxus, and conceptualism, AC designed two different jewel cased CDs, and a Thong with a download code, further inquiring about the viability of the sonic object. If music is now streamed instead of inserted into a disk drive or spun on a turntable, why does the music have to have a sound-delivery mechanism at all? Can’t it exist as a coded garment?
That direction doesn’t just include the music. As the self-elected director of Lambda Celsius, the Birmingham-born artist dons multiple hats: musician, head writer, costume tailor, graphic designer, video producer. But it’s the performer in Carter that dictates every other aspect of the metaphysical troupe. Through that bundle of media, the artist can manifest the multitudes that compose their non-binary identity. Ana Echo carries the torch for the upcoming album Ana Echo and the Beauty of Indifference, with melancholic synth-pop that harkens to Carter’s ambiguous idols and repurposed objects of the domesticated female. But the next persona could transform everything. Lee Adcock, Immersive Atlanta
The creative trajectory of Lambda Celsius over the past 10 months or so has been positively meteoric…Specifically, “Beauty of Indifference” and “Simulacra” are the type of catchy tracks that’ll catch the ear of casual listeners before drawing them into Carter’s world of deeply rhythmic, heavily heady music. Standout tracks from the dark side include the superb "Fashionable Linguistics" (co-written with murk daddy flex) and “PMMDMD.” For my money, at least on the night I’m writing these words, I could loop the EBM groove of “Time to Change History,” with its cinematic storm sounds and disintegration sound effects, for an hour and not get bored. So, yeah, it’s that good, y’all. Gordon Lamb, Flagpole
There’s something undeniably appealing about the dark vibes that permeate throughout the self-titled album from Ann Catherine Carter aka AC Carter aka AC aka Λ°C. For fans of the production style of late 70′s, early 80′s post-punk undertakings, this should feel right at home. It’s a wall of sound broadcast from a dark room, easily inspired by the likes of New Order bass tones and proto goth vocals. The lead track, “At Least You Make Me Feel”, features R. Stevie Moore (presumably on guitar) and certainly sets the template for the rest of the record." We Own This Town
"Nashville-based musician and painter Λ°C dwells in the area between specificity and a broader artistic sense of experimentation. [AC’s] work in both mediums exhibits a wild and cathartic release of emotion and rational/irrational thought— they connect with the audience on an academic level as well as a distinctly empathetic one." Phinery
"[Λ°C] bring[s] a different perspective to [their] music than you might get from someone who's focused solely on pop music — a very cool thread to have in your scene. As Carter has shifted focus from funky noise toward post-punk and electronic pop, they continue to work with the idea of taking rigid, grid-like structures and bending them out of their manufactured shape and into something organic. Stephen Trageser, Nashville Creme