Philharmonics is the first studio album by the Danish singer-songwriter Agnes Obel. It was released from 17 September 2010 by PIAS. The album received positive reviews from both Danish and international music critics. Philharmonics peaked at number one in Denmark and Belgium, and charted inside the top ten in France and the Netherlands. The album has sold 450,000 copies in Europe.
Agnes Obel's pristine, delicate 2010 debut, Philharmonics, was an unexpected platinum-selling sensation here in Denmark, and a hit throughout Europe. The sudden fame left her reeling, and on Aventine, the classically trained pianist/singer has tried to make sense of things. Accompanied mainly by a single cellist, she has created a quiet, watchful record – a response to having spent 18 months in "a blur" of touring. The lyrics are impressionistic sketches (on Fuel to Fire, she sighs: "Roses on parade, they follow you round"), suggesting she saved the real firepower for the exquisite arrangements: sculpting strings and piano into beautifully melancholy ripples. Like Ane Brun and Seventh Tree-era Alison Goldfrapp, Obel is exceedingly good at conveying weariness and disorientation through sound: Run Cried the Crawling's pizzicato-plucked cello and otherworldly violin-swoops evoke the desolation of being awake at 3am, as do The Curse's precise droplets of strings and vocals. A wonderful autumn album.
Unique mix of ambient, industrial, experimental trip hop, jazz and electronica: Formed in a dingy Melbourne warehouse at the turn of the century, Terminal Sound System began as a vehicle for Skye Klein, half of Relapse Records cult doom/noise duo HALO, to explore his interest in experimental electronic music and Dub.
Reflecting and refracting the uncertainty of a darkening era, ‘Mirror’ is a work of bold rein-vention and raw renewal, sculpting chaos and discord into a formidable statement of in-tent. Only one thing is certain - wherever Gnod choose to go next, their ire and inspiration blaze as brightly as ever.
Junk marks M83's first studio album in over four years, the last album being Hurry Up, We're Dreaming. Gonzalez noted that he was inspired by 1970s and 1980s television shows such as Punky Brewster and Who's the Boss?, stating, "I feel like TV shows are starting to sound and look the same. There's no more passion anymore. So this album is a tribute to those old-fashioned shows."
Max Richter's emotive and minimal score to Damon Lindelof's TV series about a post-apocalyptic global event where 2% of the world's population disappears without explanation.
Richter's approach explores the feelings of the protagonist's family, the Garveys, through intimate, small scale music.
He tackles this psychological landscape by bringing a ritual quality to the score, while themes of departure and loss are represented by a sense of sonic decay, relying on the instrumentation of a few sustained tones on pianos, harps and celesta.
Max Richter is a classically trained composer that defies boundaries. Trained at the Royal Academy of Music and finishing his studies under the tutelage of avant-garde composer Luciano Berio in Florence, Richter's career has followed many paths.
His musical output ranges from ballets (Wayne MacGregor's Infra), reinventions of classical works (Vivaldi's Four Seasons), collaborations with The Future Sound Of London, Roni Size and Vashti Bunyan to writing scores for film and TV (Waltz With Bashir, Lost and Found, Last Days on Mars) and solo work (Memoryhouse, The Blue Notebooks, 24 Postcards In Full Colour).
"This might just be the most beautiful sounding score of 2014." Soundtrack Geek "For every moment of sheer beauty, there's another of desolation and these contrast so well, the extremes of each simply exaggerating the effect of the other.
I can't remember the last time I heard music this good." Movie-Wave 5* "Listen to this score, because you will not forget it." Soundtrack Dreams