Astrid Sonne
Great Doubt
Pitchfork が77点
サウンド的には、変な壊れ方というか、
不思議な進行で独特。
過去作は、おおよそインストもので
今作から声というか歌が入っているよう
https://pitchfork.com/reviews/albums/astrid-sonne-great-doubt/
Astrid Sonne wastes no time getting to the heavy stuff on her third album, Great Doubt. After a vanishingly brief introduction—a 61-second prelude for flute and viola that starts off sweetly and turns unsettling in its closing seconds—she cuts to the chase on “Do you wanna,” the album’s first real song. “Do you wanna have a baby?” she asks, her voice cool and affectless over lumbering piano and a plodding, rickety drum beat. Then she twists the knife: “I really don’t know.”
Singing from a position of vulnerability is a shift for the Danish musician. For most of her career, Sonne avoided lyrics entirely. “I’m so awful at writing them, I would do anything to avoid it,” she told an interviewer in 2019. Instead, on her first few releases she struck an unusual balance between ambient electronics, trance arpeggios, 20th-century minimalism, and the stark, unadorned sound of her viola. On the rare occasion that she did include voices, they were just another layer of tone color. On 2018’s Human Lines, her debut, she smeared choral samples like daubs of oil paint; she closed 2019’s otherwise resolutely electronic Cliodynamics with a piece of chamber music that recalled Renaissance polyphony. On largely a cappella tracks like “Fields of Grass”—partially recorded in a parking garage—and “How Far,” the words were secondary to the songs’ whorled textures.
デンマークのミュージシャン
3rd
過去作
202401推し 準推し