on life, music etc beyond mainstream

2012 5 Dez

Gregors Lieblingsalben 2012

von: Gregor Mundt Filed under: Blog | TB | 2 Comments



  1. J.S.Bach: Andras Schiff Das Wohltemperierte Klavier (ECM New Series)
  2. Astrid: High Blues (Rune Grammofon)
  3. Jan Bang & Erik Honore: Uncommon Deities (samadhisound)
  4. Thomas Köner: Novaya Zemlya (Touch)
  5. Thomas Stronen, Ian Ballamy: Mercurial Balm (ECM)
  6. John Cage: As it is (ECM)
  7. Scott Walker: Bish Bosh (4AD)
  8. Eivind Aarset: Dream Logic (ECM)
  9. Heiner Goebbels: Stifters Dinge (ECM)
  10. Fiona Apple: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do (Epic)
  11. Frank Ocean: Channel Orange (Island)
  12. Hank Jones & Charlie Haden: Come Sunday (Emarcy Records)

Weitere acht Hits: Brian Eno – Lux (Warp) / Dan Michaelson – Sudden Fiction (Editions) / Can – The Lost Tapes (Mute – Aip) / Peter Broderick – (Cooperative Music) / Krzysztof Penderecki and Jonny Greenwood – Threnody for the victims of Hiroshima (Warner) / Bill Fay – Life is People (Dead Oceans) / Bob Dylan – Tempest (Smi Col) / Regina Spektor – What we saw from cheap seats (Sire)

This entry was posted on Mittwoch, 5. Dezember 2012 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Michael Engelbrecht:

    Der Pianist András Schiff nimmt es zum zweiten Mal mit Johann Sebastian Bachs „Wohltemperiertem Clavier“ auf und übertrifft sich dabei selbst. […] Bei Schiff finden sich keine spektakulären Tempi, keine „interessant“ vom Standard abweichenden Lesarten. Sein Spiel ist leuchtend schlank und flüssig, fast antiromantisch […] Schiff, streng das Pedal meidend, schafft einen stets durchhörbaren Klang, der nichts unterschlägt und von der führenden Oberstimme abwärts die einzelnen Stimmen dynamisch nach unten staffelt. Ein Asket mit Spielfreude ist da am Werk.

    Reinhard J. Brembeck, Süddeutsche Zeitung

  2. Michael Engelbrecht:

    The death of the album. Forgive me. I have been spending too much time around writers of late and find the topic of ‘the death of the novel’ repeating over and over and over in my mind. It is quite fascinating. Is the novel really dead/dying?

    I digress. But, relate this idea to music and do the same fears exist? The album as a concept is most definitely under threat. Its very existence is perhaps less and less important in this digital obsessed world. Go back 50 years and singles were where it was at. Albums were be made up of a few hit songs and basically, a lot of filler. In the case of some artists nothing has changed and as we move towards a world where people can buy songs as they please, download snippets of a record, listen to tracks on the likes of bandcamp, soundcloud and spotify never having to own the physical product, the album does appear to be an art form under severe threat.

    And it is an art form. A point that could not be highlighted more beautifully than by this wonderful record from French artists Astrid.

    An album should capture you from the beginning, hold your attention through the early acts, pick you up in the middle when you are perhaps distracted and finish long before your attention has been able to disintegrate or been given over to some other activity. Lie on your bed, shut your eyes and a truly wonderful record will be over before you feel the need to stir and rise. It will consume you and your being from first til last and you will feel amazing for the experience.

    ‘High Blues’ opens with a riff that could be taken straight from an album by The Black Keys. But this is not rock and roll. This is music filled with madness and imagination. It’s midnight music. Music that has been produced by consuming everything ever written by Tom Waits, Captain Beefheart and other eccentric geniuses (along with copious amounts of wine) then spewing out these sources of inspiration to create soundscapes as dense as they are spacious, as focused as they are schizophrenic. Astrid have produced a quite simply brilliant work that captures perfectly what instrumental music is all about. Ladies and gentlemen, words don’t have to exist to create focus and interest. And words cannot truly express the creative vibrancy on show on this record so why try? It is records like this that encourage people to continue to consume the album and rather than be specific about the details I say – buy this record now. Buy it and embrace it.

    It’s at moments like this that I reflect on the state of music in the 21st Century and realise that the album is not dead. The consumer may choose to invest in music in a different manner but as long as we have brilliant musicians like Astrid determined to create cohesive and absorbing records then the album, as an art form, is in safe hands.

    – Alexander Monken for Fluid Radio

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