Qobuz Store wallpaper
Catégories :
Panier 0

Votre panier est vide

Hauschka - Abandoned City

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Abandoned City

Hauschka

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Sublime+

Langue disponible : anglais

As Hauschka, Volker Bertelmann's skill and creativity in bringing the prepared piano into the 21st century are well-known, but Abandoned City is his first album to feature the instrument this prominently since 2005's aptly named The Prepared Piano. It's also one of his most solitary efforts in some time; aside from a few assists by contrabassist Roland Nebe and clarinetist Simone Weber, virtually every sound was made by Bertelmann. Abandoned City isn't so much a return to form as it is a reflection of Hauschka's explorations since The Prepared Piano: elements of Ferndorf and Silfra's classical leanings, Salon des Amateurs' brilliant reworking of dance music, and Foreign Landscapes' globetrotting concept can all be heard. As its name suggests, Abandoned City's tracks draw inspiration from deserted metropolises, but Bertelmann doesn't rely on drones or space to describe these ghost towns. Even the most somber tracks, such as the bittersweet wondering of "Who Lived Here?" or the decaying grandeur of "Craco," teem with musical life. Bertelmann's piano populates Abandoned City with sounds akin to the harp and koto on "Sanzhi Pod City" and even pizzicato violin on "Agdam." Hauschka couples this ingenuity with an urgency that makes the album unique among his work. Whether it came from his need to work quickly when he wasn't needed by his newborn son or from the mixture of "hope and sadness" he experiences when writing music, an unsettling melancholy fills these pieces. Nowhere is this clearer than on Abandoned City's opening trio of songs: "Elizabeth Bay," a portrait of a Namibian mining town that Bertelmann describes as a "reinvention" of Wagner's Flying Dutchman, is a gorgeous ruin that encompasses dubby bass and fragmented techno rhythms in its sweep; the equally beautiful and nightmarish "Pripyat," inspired by an abandoned city near Chernobyl, balances flurries of insistent melodies and percussion and screeching noise; and "Thames Town" feels like a sadder-but-wiser cousin to Salon des Amateurs with its surprisingly funky rhythm and brooding piano melody. These tracks are so striking that the album feels a bit top-loaded, but Abandoned City is still another fine example of Hauschka's combination of inspired musicianship and almost palpable emotion.
© Heather Phares /TiVo

Plus d'informations

Abandoned City

Hauschka

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 50 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 50 millions de titres avec votre abonnement illimité.

1
Elizabeth Bay
00:05:40

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

2
Pripyat
00:07:20

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

3
Thames Town
00:04:00

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

4
Who Lived Here?
00:04:49

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

5
Agdam
00:04:55

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

6
Sanzhi Pod City
00:03:56

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

7
Craco
00:03:31

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

8
Barkersville
00:03:55

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

9
Stromness
00:05:34

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

10
El Hotel del Salto Bonus Track
00:04:36

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

11
Varosha Bonus Track
00:04:14

Hauschka, MainArtist - Volker Bertelmann, Composer, Producer - Needlewood Publishing; Administered By Music Sales Corporation; Bosworth Music Gmbh, MusicPublisher

City Slang City Slang

Descriptif de l'album

As Hauschka, Volker Bertelmann's skill and creativity in bringing the prepared piano into the 21st century are well-known, but Abandoned City is his first album to feature the instrument this prominently since 2005's aptly named The Prepared Piano. It's also one of his most solitary efforts in some time; aside from a few assists by contrabassist Roland Nebe and clarinetist Simone Weber, virtually every sound was made by Bertelmann. Abandoned City isn't so much a return to form as it is a reflection of Hauschka's explorations since The Prepared Piano: elements of Ferndorf and Silfra's classical leanings, Salon des Amateurs' brilliant reworking of dance music, and Foreign Landscapes' globetrotting concept can all be heard. As its name suggests, Abandoned City's tracks draw inspiration from deserted metropolises, but Bertelmann doesn't rely on drones or space to describe these ghost towns. Even the most somber tracks, such as the bittersweet wondering of "Who Lived Here?" or the decaying grandeur of "Craco," teem with musical life. Bertelmann's piano populates Abandoned City with sounds akin to the harp and koto on "Sanzhi Pod City" and even pizzicato violin on "Agdam." Hauschka couples this ingenuity with an urgency that makes the album unique among his work. Whether it came from his need to work quickly when he wasn't needed by his newborn son or from the mixture of "hope and sadness" he experiences when writing music, an unsettling melancholy fills these pieces. Nowhere is this clearer than on Abandoned City's opening trio of songs: "Elizabeth Bay," a portrait of a Namibian mining town that Bertelmann describes as a "reinvention" of Wagner's Flying Dutchman, is a gorgeous ruin that encompasses dubby bass and fragmented techno rhythms in its sweep; the equally beautiful and nightmarish "Pripyat," inspired by an abandoned city near Chernobyl, balances flurries of insistent melodies and percussion and screeching noise; and "Thames Town" feels like a sadder-but-wiser cousin to Salon des Amateurs with its surprisingly funky rhythm and brooding piano melody. These tracks are so striking that the album feels a bit top-loaded, but Abandoned City is still another fine example of Hauschka's combination of inspired musicianship and almost palpable emotion.
© Heather Phares /TiVo

À propos

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
À découvrir également
Par Hauschka
Dans la même thématique...
Folklore (Explicit) Taylor Swift
Myopia Agnes Obel
Ghosteen Nick Cave & The Bad Seeds
Les Grands Angles...
Kraftwerk, 50 ans d'avance

Groupe de musique électronique le plus influent de l’histoire, Kraftwerk, fondé par le duo Ralf Hütter et Florian Schneider, qui s’est éteint le 6 mai 2020 des suites d’un cancer, a toujours été en avance sur son temps. En avance sur la technologie, sur la composition, sur les performances scéniques, les Allemands ont prouvé au grand public que les machines étaient aussi capables d’émotions et ouvert la voie pour la techno, la new wave et même le hip-hop.

Un nouveau monde entre électro et classique

Ólafur Arnalds, Nils Frahm, Max Richter, Poppy Ackroyd, Peter Broderick, Joana Gama… Depuis quelques années, tous ces noms en vogue ont été regroupés sous la vaste et imprécise étiquette “néoclassique”. A dire vrai, cette “scène” ressemble plutôt à une bande hétéroclite d’artistes fureteurs qui mêlent instruments classiques et production électronique – avec une connexion assumée aux pionniers du minimalisme américain – régalant les sens et ouvrant des perspectives des deux côtés de leur spectre musical.

Iggy et les Stooges, l'aube punk

En 1969, une bande d’auto-proclamés crétins dynamite le rock’n’roll à coup de distorsion et de textes nihilistes. A la tête de ces Stooges, Iggy Pop, une sorte de Nijinski habité et révolté, destiné à devenir le parrain du punk rock à venir.

Dans l'actualité...