COMPTINES COUNTDOWN

If we wanted to define the harmonic thread of Agnes Obel, it is between the count and the delicate abstract we would find. And if we specified the content, one might even say that this is a strange place inhabited by a wadded sobriety, sometimes fearful. For Danish originally, but now for some years in Berlin, Agnes Caroline Thaarup likes measure two time or three, arpeggios in substance too. And if in real life, the young woman does not like to talk about it, it leaves to his music, like its minimalist texts, entire delegation to paint his world view. Indeed, more than words, for a real appointment with the intriguing Agnes, it will be through music it will pass. With a piano, first. A frugal piano like a Erik Satie. An instrument which she said the service than the reverse. However, if black and white can make themselves discreet, blend in silence to better extract the fragile water from our memories, what strikes most is one vote. A voice tinged with melancholy and morning freeze which, like a tightrope walker, leans over the void to better observe the leak.

Very active in his gray-blue writing, the nature, the city and being are his main inspirations. Indeed, Agnes speaks only of what she knows. She speaks through very short pieces that could be described as musical rhymes ... but in his way. Thus, perfect examples of the talent of the young lady, Just So if Riverside or On Powdered Ground build their worlds in a few images on ivory. Note that in terms of worlds, it is rather closed universe (not enclosed meaning closed, but reassuring). Non commonplaces who tease our senses as our memory. Musically, Agnes plays on the blueprint. One feels immediately through its record she has assimilated all the little flourishes that make it attaches to a melody. However, if she uses sparingly certain strings, the artist is never lost in the agreement. In fact, his credo is rather to bring us into a daydream. A dream built on measures, but evocations we belong. Moreover, concerning the pure evocation, impossible not to acknowledge the presence of three instrumentals, three freethinkers at our disposal to make our thing.

First cold and strangely a nice tingling, Philharmonics as little surprise grab a piece of ice on the tongue. Obviously, there is something unique in this classical-folk record. Something touching grace that goes well beyond that voice put forward, graceful piano, strings and few work on the echo. Also, to better taste the essence, nothing can replace a dip in the fjord of emotions.