音乐风格：Contemporary Folk, Alternative, Indie
Agnes Obel，来自丹麦的美人鱼。为什么会这么称呼她？因为在今年上海世博会丹麦馆的“美人鱼”主题活动中，Agnes Obel作为表演嘉宾之一，带给了我们怦然心动的优雅声音。
不仅如此，Agnes Obel从小就接受了钢琴训练，并且结识了家乡哥本哈根许多当地的乐队以及音乐制作人，对于音乐的态度，自信的Agnes Obel总是会选择独自承担并且去享受音乐过程，编曲，填词，包括后期的混音制作都是一个人去完成，当钢琴声从她轻柔的指尖流动出来的时候，我就知道自己对她的喜爱，悲悯的气氛从Agnes Obel的声音中缓缓流露出来，很安静，很凄美。试想看着她独自一人坐在钢琴前的演绎，或许思绪也会跟着慢慢被吸引，静静的聆听这种感性的音乐。
Such is the exceptionally sparse nature of Agnes Obel’s debut album that it slips by almost unnoticed lest you lend it a distraction-free, focused ear. It is highly advisable you do so: the compositions that lie within are slow, sombre, sepulchral even, but not without a sense of occasionally singular beauty. A case in point is Riverside, which follows the instrumental Falling, Catching as the first song proper. Entirely built around piano and voice, its soft pleas for solitude and escape are utterly disarming, Obel’s mournful lyric as chilled as the body of water she’s inexplicably drawn to.
Philharmonics is a resolutely early hours affair; a kind of Scandinavian counterpart to the British duo Felix’s wonderful You Are the One I Pick of last year. But where that record generally eschewed structure in favour of dark flights into the surreal, Obel keeps things tight and lean here. Such elements as percussion and auxiliary instrumentation rarely impinge on these songs, and when they do it is sometimes difficult to tell (one notable exception being her meditative cover of John Cale’s I Keep a Close Watch, here simply titled Close Watch).
Oddly for an album that dabbles in such twilit, shadowy waters, it supplied communications giant Deutsche Telekom with music for their recent advertising campaign in Germany, which is where the Copenhagen-born Obel now resides. Just So is the track in question, and while its bright melodies and straightforward lyrics sit at odds with the surrounding, songs like this and Brother Sparrow do furnish Philharmonics some much-needed lightness.
Elsewhere, the title-track engages and unsettles in equal measure, returning to the theme of inescapable tides that opened the album (its first line is particularly striking – "Guess who died last night," Obel coos), while Over the Hill is probably the most traditionally pretty song at a slight three minutes. Obel’s sedative tones are the constant, and though Philharmonics’ deliberate arrangements veer close to the lugubrious at times, they’re capable of some genuinely mesmeric turns.
--James Skinner (BBC)
01. Falling, Catching
03. Brother Sparrow
04. Just So
09. Close Watch
11. Over the Hill
12. On Powdered Ground