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on 5 June 2010
Sheer beautiful work. The whole album leads from one delicate string and piano piece to another, creating a greatly intricate and powerful story. The percussion element works wonderfully to bring together the whole ensemble. The build up in Gleypa Okkur is stunning, the subtle vocals are a great accompaniment towards the fading strings, this song sets down a great build up for Hægt, Kemur Ljósið with its hard hitting layers of strings sailing up scales and reaching a highly anticipated downfall. I recommend this album to anyone. Even if you are not a fan of classical, listen to this now. I love it and cannot stop listening.
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on 29 November 2012
This was my first journey into Olaf Arnaulds music and what a pleasure it was. If you want 'in your face' stuff this is not for you. It's beautiful, melodic, dark, sombre, emotional!!!!! I could listen to this day after day and never get bored! I've bought several Olaf albums which are really good but none so far exceed the level of sheer beauty, emotion and.....lost for words, of this album. Modern prog rock at it's best but so much more!
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on 9 August 2010
I came upon this album by chance and I had never heard of the artist/composer before. I am so glad I found it. It is beautiful. It is somber but at the same time peaceful & uplifting. I now want to go on and buy other albums by Olafur Arnalds!
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on 29 April 2015
Perfect for your meditation or just watching the clouds on the sky as they are changing, coming and dissappearing behind the frame of the window.
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on 9 September 2011
I have read this CD to be pop influenced classical. Music that bridges the no man's land between the two. Better to say: music that hovers above the two, because it touches neither. And that is exactly where it goes wrong; it is too static for both, lacking soul and therefore conviction. A spun out piano line here, quivering violins there, yes, of course it sounds beautiful and, yes, it is soothing. But don't be fooled, is music about that? Only about trying to please? I think it needs to touch the heart. Good music should force one to stop what he is doing and make him or her listen, be it a shepherd playing flute, a punker maltreating his guitar or an orchestra performing a Mahler symphony.
The melodies are based on thin ideas and slow in developing, if there is such a thing as development at all: it is more the repeating of a single idea that leads nowhere, it just fades. Above all: the musicians have never met! Olafur played his piano parts in a workshop in Germany, Tony Levin added bass lines at his U.K. kitchen, and the violinists were recorded in an Icelandic studio - all that music is not about. It should be about emotions, interaction and not be a colouring by numbers. Too many pretensions here, the title and artwork being other ones. And Arnalds' recent efforts to perform this music live in established concert halls is as bad an idea as Enya performing at a death metal festival.
Surely there is a market for this; as said, on first hearing it sounds attractive, thus making it excellent, non-obtrusive background music for in waiting rooms, etc. But not for posterity: the more one listens the more boring it gets. Admittedly another function might be that this music may offer a gateway for some to listen to real classical music - those better try the Kronos Quartet. For those who want to explore the real wasteland between pop and classical I recommend Rachel's and the sublime Max Richter.
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on 23 March 2014
I listen to this, and other Olafur stuff, pretty incessantly, without getting bored. I love it. It is relaxing, yet lifting somehow.
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on 11 November 2014
Well I went overboard and bought all his albums after seeing him at the Roundhouse in London. I think he's a better live performer than studio artist and his recordings sound a bit sterile. Still, it's worth a listen.
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on 7 April 2016
Great music, subtle, evocative and atmospheric.
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on 11 May 2015
I mean, its Olafur Arnalds in Vinyl. Great.
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on 4 March 2015
supersweet chillout album/thanks
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