Agnes Obel - 2010 - Philharmonics (Deluxe Edition) Disc I. Falling, catching.flac 5,101 KB; 02. Riverside.flac 23 MB; 03. Brother sparrow.flac 22 MB; 04. Just so.flac 20 MB; 05. Beast.flac 21 MB; 06. Louretta.flac 8,078 KB; 07. Avenue.flac 24 MB; 08. Philharmonics.flac 19 MB; 09. Em Nikon Manual on this page. Close watch.flac 21 MB; 10. Wallflower.flac 11 MB; 11. Anyone who heard the recent Riverside 10' EP from Danish-born Agnes Obel will know exactly what sort of spectral loveliness to expect from the.
Agnes Obel's striking success in her home country of Denmark with her debut is all the more remarkable given how understated Philharmonics is as a listen, a seemingly straightforward piano/vocal album that isn't. Combining a strong ear for immediate appeal -- Obel's deep singing voice is lovely and her ear for a calm hook is crucial -- with a feeling of just-unsettled-enough unease is key. Part of it lies in Obel's ear for vocal arrangements; hearing her own overdubbed harmonies showcases her talents further, both as performer and producer. But there's something that's not trying to be straightforward here.
There's an elegant, slipping darkness that creeps in around the corners, like something is being hidden in plain sight. The short instrumental 'Falling, Catching' starts off the album on a sweet note -- perhaps sickly sweet, there's something so strangely focused in its intensity that it almost unsettles. Her first vocal provides a bit of necessary contrast on 'Riverside' immediately thereafter, but at the same time further showcases how gently unusual Philharmonics ends up being -- it may not be Patty Waters, say, but it's not Vanessa Carlton or KT Tunstall either.
The underpinning bass part on the cover of John Cale's 'I Keep a Close Watch' set against the high intensity of the lead piano gives a good personal stamp to a standard, but it's her subtle variety throughout the album that impresses even more. There's 'Avenue's music-box-meets-near-film-noir-jazz on the one hand, while 'Louretta,' another short instrumental, has a controlled theatricality that seems like it should soundtrack a Neil Gaiman ballet. 'On Powdered Ground' has a gentler sweetness that feels like a slight respite toward the end, but Philharmonics in general aims for the darkly beautiful and succeeds on an unexpected level. ~ Ned Raggett. Play It Again Sam It was 1982. The story of Play It Again Sam begins here, when Kenny Gates, a student, opened the front door of the Casablanca Moon Record Shop, a Belgium-based store owned by Michel Lambot. Both men, equally passionate about music, wanted to form a label that improved the production, distribution, and promotion of new non-commercial music.
They had a shared desire to restore the image of Belgian musicians abroad, looking to develop in an international manner. Their project started to materialize in 1983 with the creation of an LLC, founded with an initial capital of around 20 000 French francs, which they duly named Play It Again Sam. The name inspired by a piece of di.