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Reflektor

Arcade Fire

Alternative & Indie - Released October 28, 2013 | Sony Music CG

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After stunning the mainstream pop machine into a state of huffy, new school e-disbelief by beating out Eminem, Lady Antebellum, Lady Gaga, and Katy Perry for the 2011 Album of the year Grammy, Arcade Fire seemed poised for a U2-style international coup, but the Suburbs, despite its stadium-ready sonic grandiosity, was far too homespun and idiosyncratic to infect the masses in the same way as the Joshua Tree or Achtung Baby. Reflektor, the Montreal collective's much anticipated fourth long-player and first double-album, moves the group even further from pop culture sanctification with a seismic yet impenetrable 13-track set (at 75 minutes it’s one minute over standard single disc capacity) that guts the building but leaves the roof intact. Going big was never going to be a problem, especially for a band so well-versed in the art of anthem husbandry, and they're still capable of shaking the rafters, as evidenced by the cool and circuitous, Roxy Music-forged, David Bowie-assisted title cut, the lush, Regine Chassagne-led “It's Never Over (Oh Orpheus),” and the impossibly dense and meaty “We Exist,” but what ultimately keeps Reflektor from sticking the landing is bloat. The stylistic shifts, courtesy of LCD Soundsystem's James Murphy, aren’t nearly as jarring as the turgid and Tiki-colored, almost seven-minute “Here Comes the Night Time,” the six minutes of rewinding tape that serve as the coda for the otherwise lovely “Supersymmetry,” or the unnecessarily drawn-out fountain of white noise that should seamlessly connect the Gary Glittery “Joan of Arc” with the Flaming Lips-ian “Here Comes the Night Time, Pt. 2,” but doesn’t because the songs are on separate discs. Flush with artistic capital, they went on a bender, and in the process lost some of the warmth, jubilation, and capacity for empathy that made their first three efforts so inclusive. Nevertheless, Reflektor is as fascinating as it is frustrating, an oddly compelling miasma of big pop moments and empty sonic vistas that offers up a (full-size) snapshot of a band at its commerical peak, trying to establish eye contact from atop a mountain.© James Christopher Monger /TiVo
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Reflektor Manfred Eicher – Elbphilharmonie 2020

Various Artists

Classical - Released December 6, 2019 | ECM New Series

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Reflektor (Deluxe)

Arcade Fire

Alternative & Indie - Released October 28, 2013 | Sony Music CG

After stunning the mainstream pop machine into a state of huffy, new school e-disbelief by beating out Eminem, Lady Antebellum, Lady Gaga, and Katy Perry for the 2011 Album of the year Grammy, Arcade Fire seemed poised for a U2-style international coup, but the Suburbs, despite its stadium-ready sonic grandiosity, was far too homespun and idiosyncratic to infect the masses in the same way as the Joshua Tree or Achtung Baby. Reflektor, the Montreal collective's much anticipated fourth long-player and first double-album, moves the group even further from pop culture sanctification with a seismic yet impenetrable 13-track set (at 75 minutes it’s one minute over standard single disc capacity) that guts the building but leaves the roof intact. Going big was never going to be a problem, especially for a band so well-versed in the art of anthem husbandry, and they're still capable of shaking the rafters, as evidenced by the cool and circuitous, Roxy Music-forged, David Bowie-assisted title cut, the lush, Regine Chassagne-led “It's Never Over (Oh Orpheus),” and the impossibly dense and meaty “We Exist,” but what ultimately keeps Reflektor from sticking the landing is bloat. The stylistic shifts, courtesy of LCD Soundsystem's James Murphy, aren’t nearly as jarring as the turgid and Tiki-colored, almost seven-minute “Here Comes the Night Time,” the six minutes of rewinding tape that serve as the coda for the otherwise lovely “Supersymmetry,” or the unnecessarily drawn-out fountain of white noise that should seamlessly connect the Gary Glittery “Joan of Arc” with the Flaming Lips-ian “Here Comes the Night Time, Pt. 2,” but doesn’t because the songs are on separate discs. Flush with artistic capital, they went on a bender, and in the process lost some of the warmth, jubilation, and capacity for empathy that made their first three efforts so inclusive. Nevertheless, Reflektor is as fascinating as it is frustrating, an oddly compelling miasma of big pop moments and empty sonic vistas that offers up a (full-size) snapshot of a band at its commerical peak, trying to establish eye contact from atop a mountain.© James Christopher Monger /TiVo
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Gewaltakt

Ensemble Reflektor

Classical - Released January 11, 2019 | PASCHENrecords

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Liebeslied

Ensemble Reflektor

Classical - Released September 18, 2020 | PASCHENrecords

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Reflektor

Moldy Cassette

Rock - Released October 22, 2018 | Karmafruit Records

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REFLEKTOR

Joseph Boys

Punk / New Wave - Released August 5, 2022 | Flight 13 Records

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Ad astra

Ensemble Reflektor

Jazz - Released March 4, 2022 | PASCHENrecords

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Reflektor

Magnus Bergman

Folk/Americana - Released September 1, 2006 | Tailor Maid

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Ich geh dir nach

Reflektor L

Folk/Americana - Released June 4, 2023 | 5134768 Records DK

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Footsteps EP

]Reflektor

Drum & Bass - Released July 29, 2019 | Soul Deep Exclusives

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Lock Off

ReFlektor

Drum & Bass - Released August 24, 2020 | Really Good Recordings

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Meine Kunst (feat. ISSO, Reflektor & Sassi)

APRIORI PROJECT

Hip-Hop/Rap - Released November 16, 2023 | 5768276 Records DK

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Eingang

Reflektor L

Pop - Released March 30, 2023 | 5134768 Records DK

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Don't Worry

ReFlektor

Electronic - Released December 15, 2016 | Reflektor

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Personal Reflektor

PromiseLand

Alternative & Indie - Released November 7, 2019 | Cult Records

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Gib deinem Herzen ein Zeichen

Reflektor L

Pop - Released April 22, 2023 | 5134768 Records DK

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Crossley Reflektor

Andromeda

Rock - Released January 22, 2021 | Dinkum Studio

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REFLEKTOR

Li Muddy

Hip-Hop/Rap - Released January 27, 2023 | 808 GORILLAS

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Reflektor błysnął

Olek Talkowski

Hip-Hop/Rap - Released April 7, 2023 | Luna Music

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