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Alternativa & Indie - Publicado el 19 de octubre de 1996 | Sony BMG Music UK

Premios Discoteca Insólita Qobuz - Mercury Prize Selection
A folkie for the electronica age, Beth Orton brilliantly bridges the gap between acoustic songcraft and digital dance beats with her extraordinary debut album, Trailer Park. Fusing the plaintive emotional power of the singer/songwriter tradition with the distanced cool of trip-hop rhythms, Orton creates a fresh, distinct, and surprisingly organic sound without obvious precedent; blessed with a warm, ethereal voice capable of adapting comfortably to Spartan folk ("Whenever," a touching cover of the Spector/Greenwich/Barry-penned "I Wish I Never Saw the Sunshine"), buoyant pop ("Live as We Dream," "How Far"), and spacy, densely layered electronica ("Tangent," "Touch Me with Your Love"), she shifts gears with remarkable ease, the depth and clarity of her unique perspective connecting even the most disparate tracks together into a unified whole. Simply put, Trailer Park is one of the most promising and innovative debuts of its era. © Jason Ankeny /TiVo
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Alternativa & Indie - Publicado el 9 de marzo de 1999 | Sony BMG Music UK

Premios Mercury Prize Selection
On her stunning sophomore album, Central Reservation, Beth Orton slips free of the electronic textures that colored her acclaimed 1996 debut, Trailer Park, stripping her music down to its raw essentials to produce a work of stark simplicity and rare poignancy. With the exception of a pair of Ben Watt-produced tracks ("Stars All Seem to Weep" and a remix of the title cut), Central Reservation rejects synthetic sounds and beats altogether in favor of an organic atmosphere somewhere between folk, jazz, and the blues; the focal point is instead Orton's evocatively soulful voice, which invests songs like "Sweetest Decline" and "Feel to Believe" with remarkable warmth and honesty. It's a risky move creatively as well as commercially -- after all, the club culture was the first to champion Orton's talents -- but it pays off handsomely; for all its brilliance, elements of Trailer Park already feel dated, but the new material possesses a timelessness that recalls the best of Nick Drake or Sandy Denny, with a haunting beauty to match. And while much has been made of the melancholy that pervades her music, ultimately Central Reservation is first and foremost a record about hope and survival; its emotional centerpiece, the seven-minute "Pass in Time" (a spine-tingling duet with legendary folk-jazz mystic Terry Callier), grapples with the death of Orton's mother, but its underlying message of healing and perseverance is powerfully life-affirming -- her music hasn't merely discovered the light at the end of the tunnel, it's now bathing in it. © Jason Ankeny /TiVo
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Alternativa & Indie - Publicado el 2 de octubre de 2012 | Anti - Epitaph

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Pop/Rock - Publicado el 18 de agosto de 2003 | Deconstruction - Heavenly

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Rock - Publicado el 29 de julio de 2002 | Parlophone UK

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Alternativa & Indie - Publicado el 27 de mayo de 2016 | Anti - Epitaph

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Rock - Publicado el 9 de marzo de 1999 | Deconstruction - Heavenly

On her stunning sophomore album, Central Reservation, Beth Orton slips free of the electronic textures that colored her acclaimed 1996 debut, Trailer Park, stripping her music down to its raw essentials to produce a work of stark simplicity and rare poignancy. With the exception of a pair of Ben Watt-produced tracks ("Stars All Seem to Weep" and a remix of the title cut), Central Reservation rejects synthetic sounds and beats altogether in favor of an organic atmosphere somewhere between folk, jazz, and the blues; the focal point is instead Orton's evocatively soulful voice, which invests songs like "Sweetest Decline" and "Feel to Believe" with remarkable warmth and honesty. It's a risky move creatively as well as commercially -- after all, the club culture was the first to champion Orton's talents -- but it pays off handsomely; for all its brilliance, elements of Trailer Park already feel dated, but the new material possesses a timelessness that recalls the best of Nick Drake or Sandy Denny, with a haunting beauty to match. And while much has been made of the melancholy that pervades her music, ultimately Central Reservation is first and foremost a record about hope and survival; its emotional centerpiece, the seven-minute "Pass in Time" (a spine-tingling duet with legendary folk-jazz mystic Terry Callier), grapples with the death of Orton's mother, but its underlying message of healing and perseverance is powerfully life-affirming -- her music hasn't merely discovered the light at the end of the tunnel, it's now bathing in it. © Jason Ankeny /TiVo
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Rock - Publicado el 9 de enero de 2006 | Parlophone UK

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Pop/Rock - Publicado el 6 de marzo de 2009 | Sony BMG Music UK

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Folk - Publicado el 19 de octubre de 1996 | Deconstruction

A folkie for the electronica age, Beth Orton brilliantly bridges the gap between acoustic songcraft and digital dance beats with her extraordinary debut album, Trailer Park. Fusing the plaintive emotional power of the singer/songwriter tradition with the distanced cool of trip-hop rhythms, Orton creates a fresh, distinct, and surprisingly organic sound without obvious precedent; blessed with a warm, ethereal voice capable of adapting comfortably to Spartan folk ("Whenever," a touching cover of the Spector/Greenwich/Barry-penned "I Wish I Never Saw the Sunshine"), buoyant pop ("Live as We Dream," "How Far"), and spacy, densely layered electronica ("Tangent," "Touch Me with Your Love"), she shifts gears with remarkable ease, the depth and clarity of her unique perspective connecting even the most disparate tracks together into a unified whole. Simply put, Trailer Park is one of the most promising and innovative debuts of its era. © Jason Ankeny /TiVo
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Pop - Publicado el 1 de septiembre de 2003 | Parlophone UK

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Pop/Rock - Publicado el 5 de septiembre de 2005 | Sony BMG Music Entertainment

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Pop/Rock - Publicado el 9 de marzo de 2009 | Sony BMG Music Entertainment

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Electrónica - Publicado el 1 de junio de 2018 | Virgin Music UK

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Rock - Publicado el 23 de junio de 2006 | Parlophone UK

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Pop - Publicado el 28 de febrero de 2003 | Parlophone UK

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Alternativa & Indie - Publicado el 25 de julio de 2008 | Sony BMG Music UK

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Pop - Publicado el 28 de febrero de 2003 | Parlophone UK

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Pop - Publicado el 15 de septiembre de 2006 | Parlophone UK

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Rock - Publicado el 23 de junio de 2006 | Parlophone UK