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Alternative & Indie - Released February 21, 2020 | Deutsche Grammophon (DG)

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Alternative & Indie - Released May 25, 2018 | Late Night Tales

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Alternative & Indie - Released October 21, 2016 | PIAS America

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Alternative & Indie - Released May 2, 2014 | PIAS America

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Alternative & Indie - Released October 29, 2019 | Deutsche Grammophon (DG)

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Alternative & Indie - Released October 7, 2014 | PIAS America

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Alternative & Indie - Released September 30, 2013 | PIAS America

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Alternative & Indie - Released November 22, 2019 | Deutsche Grammophon (DG)

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Alternative & Indie - Released May 2, 2014 | PIAS America

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Alternative & Indie - Released April 5, 2018 | Late Night Tales

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Alternative & Indie - Released February 3, 2017 | Play It Again Sam

Berlin-dwelling Dane Agnes Obel has been racking up the accolades throughout mainland Europe since her platinum-selling 2011 debut, Philharmonics. With the beguiling Citizen of Glass, her third studio long-player, she looks poised to enchant the rest of the world with her dark charms. A classically trained pianist with an elegant and elastic voice, Obel's melancholic chamber pop invokes names like Goldfrapp, Bat for Lashes, and Anna Calvi, but with a succinct aura of Scandinavian refinery. Where her relatively austere prior outings relied largely on piano and strings, Citizen of Glass revels in ghostly electronics and voice modulation, even going so far as to bring in a temperamental, late-'20s monophonic synthesizer called a Trautonium. The string arrangements are more ambitious and the composition style is a bit more opaque, but the ten-track set is unequivocally Obel-esque. Taking its name from the German concept of the gläserner berger, which translates roughly to the glass citizen, Obel explores the idea of transparency in the overshare-heavy digital age. She also grapples with the death of her father and how those two experiences relate to one another, and the results are both elusive and often incredibly moving. The gothic stateliness of "Trojan Horse" -- think Enya by way of Nick Cave -- the elliptical "Golden Green," and the incredibly seductive single "Familiar," the latter of which sees Obel harmonizing with a pitch-shifted, baritone iteration of her voice, all work on multiple levels, doling out liberal amounts of atmosphere, while remaining remarkably earthbound. Obel's penchant for pairing elements of Elizabethan choral polyphony with millennial angst, not to mention her liberal use of spinet and celeste, would seem pedantic in less skilled hands, but there isn't a single moment on the quietly stunning Citizen of Glass that doesn't feel authentic. © James Christopher Monger /TiVo
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Alternative & Indie - Released March 3, 2017 | Play It Again Sam

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Alternative & Indie - Released May 26, 2017 | Play It Again Sam

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Alternative & Indie - Released November 18, 2016 | PIAS America

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Alternative & Indie - Released January 26, 2018 | Play It Again Sam

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Electronic/Dance - Released October 6, 2017 | Play It Again Sam

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Alternative & Indie - Released September 1, 2016 | PIAS America

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Alternative & Indie - Released February 21, 2020 | Deutsche Grammophon (DG)

The follow-up to 2017's acclaimed Citizen of Glass, Myopia is the Danish singer/songwriter's fourth full-length effort and the second collection of songs self-produced in her Berlin home studio. Built on the competing themes of trust and doubt, the aptly named Myopia is Agnes Obel's most insular work to date, continuing in the vein of its predecessor with dramatic pitch-tuned vocals and Gothic chamber pop melodies. Obel has been refining her spectral nocturnes for a decade now, and Myopia, with its fever dream vistas and melancholy abyss, doesn't disappoint. The slowed-down vocals that helped make Citizen of Glass feel so otherworldly appear early on, imbuing "Camera's Rolling," "Island of Doom," and "Broken Sleep" with a sort of incorporeal grandeur -- the latter cut, an arm hair-raising, pre-dawn insomnia hymn, bears both tonal and architectural similarities to COG highlight "Familiar." Intimate closer "Won't You Call Me" impresses as well, administering just enough warmth to suggest a thaw might be possible while maintaining the phantasmal vibe of everything that came before. It also serves as an excellent showcase for Obel's fluid voice; part Ella, part Enya, and part Eraserhead's Lady in the Radiator. Obel dabbles in Lynch-ian dream pop on the titular track ("Have you ever been to my myopia/think of a subtle way to let it go"), but for the most part, Myopia traverses the same darkened hallways as its forbearers, searching for light fixtures amidst the impermeable gloom. It's elegant, regal even, yet so immersed in its icy solitude that the listener is often left looking for cracks in the facade instead of common ground. © James Christopher Monger /TiVo
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Alternative & Indie - Released August 20, 2013 | PIAS America

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Agnes Obel in the magazine
  • The paradox of Agnes Obel's Myopia
    The paradox of Agnes Obel's Myopia With "Myopia", the Danish singer delivers an opus which appears to nevertheless have a clear-cut artistic vision...
  • Obel's Opus
    Obel's Opus What happens when Agnes Obel duets with Agnes Obel…
  • Agnes Obel: Qobuz Interview Video
    Agnes Obel: Qobuz Interview Video With her second album, Agnes Obel once again displays her outstanding talent, playing a wide rage of sophisticated music. Qobuz was lucky enough to conduct an exclusive interview with the Danish Be...