MAX RICHTER Songs from before



Songs from before
Int. Release 28 Apr. 2014
0289 479 3314 4 DDD GM

Track List

Max Richter (1966 - )

Max Richter, Louisa Fuller, Natalia Bonner, Rico Costa

Max Richter, Robert Wyatt, Louisa Fuller, Natalia Bonner, Rico Costa, John Metcalfe, Ian Burdge, Chris Worsey

Max Richter

Max Richter, Louisa Fuller, Natalia Bonner, Rico Costa, John Metcalfe, Ian Burdge, Chris Worsey

Max Richter, Robert Wyatt

Louisa Fuller, Natalia Bonner, Rico Costa, John Metcalfe, Ian Burdge, Chris Worsey


Max Richter, Robert Wyatt

Max Richter, Louisa Fuller, Natalia Bonner, Rico Costa, John Metcalfe, Ian Burdge, Chris Worsey


Max Richter, Robert Wyatt


Max Richter

Total Playing Time 39:48

. . . "Songs From Before" is haunted by rampant melancholy and swirling melodic themes, creating a dense atmospheric backdrop for more subtle ornamental elements to flourish. Richter shares a deep sense of minimalism with the likes of Steve Reich or Arvo Pńrt, but there is a more cinematic and evocative feel to his compositions, at times evoking the work of Michael Nyman, or Ennio Morricone even. This contributes greatly in Richter's music being at once superbly forward-thinking and extremely accessible . . . Richter plays tricks with the mind by constantly affecting the atmospheric canvas of his compositions. Wyatt's smoky voice surfaces at regular interval, adding grain to the spellbinding aspect of the music.

This is quicker music for a quicker world, and it's Richter's most cohesive album to date . . .

There are the lush arrangements around simple chord progressions -- a trait of his minimalist heritage -- but the tone is calmer and wiser, and the staging of his work seems intentionally distant as if to reinforce the wistful text of the album, the faint outline of a memory. "Songs from Before", as the title suggests, is full of the reflective melancholy that characterizes Richter's aesthetic. It manages to be varied sonically without losing the thread of narrative. Yet for all the explicit historicity of the album, Richter never strays to the overtly nostalgic or sentimental . . . There is a story, but one that you decide . . . The grainy framing that was a feature of "Notebooks" is still there, as is the warm analogue-esque sounds that buzz and voom in the background, creating depth and texture. Phantoms whisper and crackle at the peripheries allowing each track to fold languidly into the next, emphasizing the strong cinematic parallel that Richter strives to recreate . . . Richter finds the poignant in the ordinary; the sacred in the everyday.

. . . a grand sonic gesture -- with Richter combining cello, piano, violin, and viola around a central production style that is discreet without becoming muted. Melancholic and uplifting, "Songs From Before" opens with "Song"; a stunning sweep of piquant strings and muffled soundscapes that recall Cage, Arvo Part and Glass, whilst retaining a distinct Richter flavour . . . Richter's music has a submerged quality -- as if you're hearing something that's just out of reach and thereby coaxing the ear deeper and deeper until you're totally absorbed by the music . . . drafting in Robert Wyatt to pensively narrate passages from Haruki Murakami to create a reflective focal point that bestows the music with even greater gravitas. Opening "Flowers For Yulia" with a narrative thread that discusses city at dawn, the mealy crackle of vinyl slowly melts away into some glorious strings that are both eulogistic and contained, suggesting the poignant atmosphere of day break. From here, the sleight piano of "Fragment" is the perfect juxtaposition to the proceeding grand gesture, "Harmonium" twinkles into view with a iridescence that is genuinely beautiful, whilst "Autumn Music 2" exploits the murky quality of the 16 track 2 inch analogue tape he recorded on through epic strings and a snow fall of background noise. Epic yet personal, "Songs From Before" is a joy that firmly cements Max Richter at the forefront of contemporary composition. Essential.