Agnes Obel album cover Aventine

Please credit label as ([PIAS] Australia)

  1. Chord Left
  2. Fuel to Fire

  3. Dorian

  4. Aventine

  5. Run Cried The Crawling

  6. Tokka

  7. The Curse

  8. Pass Them By

  9. Words Are Dead

  10. Fivefold

  11. Smoke & Mirrors

‘Aventine’ is the eagerly anticipated new album from Agnes Obel, out 27th September on [PIAS] Australia. ‘Aventine’ is the follow up to her critically acclaimed debut album ‘Philharmonics’ (2010), which has sold 450,000 copies across Europe, achieving Platinum status in France and Belgium, Gold in Holland and five times Platinum in her native Denmark, where Agnes picked up five Danish Music Awards (the Danish Brits) in 2011.

They say the sophomore album is the most difficult of all. You spend your whole life preparing the debut LP, but as soon as it’s out there, the clock starts ticking for the follow-up. So how did Agnes Obel, European Border Breakers prizewinner in 2012, succeed in avoiding the traditional pitfalls of album two?

‘Aventine’ is Agnes Obel putting things into perspective. A second album adds depth to the picture, otherwise the first record stands alone as a snapshot of brilliance without any real indication of where the journey is heading.

‘Aventine’ is a beautiful record, intriguingly unhurried. If the first record was a wander through the forest, this one takes the time to see the beauty and feel the texture in a single leaf.  It is at once microcosmic and universal.

All of the songs on ‘Aventine’ were written (music and lyrics), recorded, produced and arranged by Agnes Obel roughly from the beginning of 2012 until late spring 2013, at home in Berlin and in a rented drum studio in the Kreuzberg district. Afficionados may recognize ‘Fuel to Fire’ and ‘Smoke & Mirrors’ from her 2011 shows.

Agnes creates her own world, or as she calls it, a bubble or bell jar, to make her music. Once inside (or should that be outside?), she’s no longer conscious of what’s going on. This is the mystery of her modus operandi, something she cannot explain. Which simply adds to the ethereal quality of her music.

It is testimony to her clarity of vision and confidence in her craft that she has sought to recreate the framework of her first LP. Having established the parameters, the magic can begin.

‘Aventine’ consists mainly of piano, vocal (played and sung by Agnes Obel) and cello

(Anne Müller also played on Philharmonics and has been a member of the live band since 2009). Three tracks feature violin and viola by Mika Posen, from Canadian band Timber Timbre. ‘Pass Them By’ features guitar by Robert Kondorossi, who also played on ‘Philharmonics’, and ‘Fuel to Fire’ introduces the Scottish harp (played by Gillian Fleetwood). Agnes performs the marvellous balancing act of painting with bolder brushstrokes and more intricate patterns without sacrificing any of the lightness of her being.

The album opens with ‘Chord Left’ – an inviting bridge over the water to ‘Philharmonics’ – and leads into ‘Fuel to Fire’, which sets the filmic tone, zooming in close to the snap and crackle of the flames, then retreating into long shot until the fire is a tiny bright dot in a dark and indistinguishable landscape.

‘Aventine’ is a wonderfully melodic opus (even if Agnes claims to find melodies difficult to write), enchanting, haunting, playful.

‘The Curse’ and ‘Run Cried the Crawling’ are the songs Agnes sees as best defining ‘Aventine’ as a whole.

“To me, they are the two songs where I think I got closest to the initial idea I had when I started making the album. Both very different from what I’ve done before but, at the same time, very much related to it.”

‘Run Cried the Crawling’ maintains the cinematographic feel to the record. It was always going to be a tall order to go without mentioning Twin Peaks, but if there’s one song which evokes a beautiful lakeside corpse swathed in stories, this is the one.

The second album, then, allows us to plot an upward curve in Agnes Obel’s trajectory. A timeless debut is joined by a second album rich in historical references. We see now that Agnes, or rather her music, would be at home in any era – crackling on a fifties jukebox in the diner, soothing the sixties souls at Woodstock, shining like silver spurs in seventies Nashville. Pick any decade. The eighties? She would have made the acoustic stage her own while new wave burned itself out. Trace a line from Bela Bartok to Sandy Denny, from Satie to Lurie (imagine her scoring early Jim Jarmusch movies).

“I was seeing and hearing more and more links in the music to all sorts of genres from different times, also outside of the genres that I normally would think of in relation to my music.”

The voice, of course, is at the heart of everything she does. It stays with us long after the needle has lifted from the record.

“To me, sounds have always been more interesting than words. I love it when the voice becomes an instrument and you almost forget it’s a human voice. At the same time I knew I wanted to get closer to something I could regard as my own “speaking” voice in the songs, getting close to something that felt like my own state of mind, story and / or voice.”‎ | |