Stockholm-based pianist and composer Shida Shahabi follows 2018's acclaimed piano-led 'Homes' with a suite of orchestral ambience that'll be sure to appeal to anyone into Stars of the Lid, David Darling, Max Richter or A Winged Victory for the Sullen.
On her debut album, the Swedish-Iranian artist used her piano to craft fragrant, homespun vignettes that were a testament to her skill with the instrument. Here she takes a different approach, focusing on texture and duration, offsetting her assured playing with cello from Linnea Olsson, double bass from Gus Loxbo and vocals from Julia Ringdahl, Nina Kinert and Sara Parkman. Shahabi prepares her piano in a unique way, using felt to dampen the notes and tape delay to stretch them against other sustained instrumentation. Initially, the music sounds startlingly close to Stars of the Lid's epochal 'Tired Sounds...', but as the album develops, it pulls away from its influences and begins to bask in its own moonlight.
The title track is a particular highlight, melting purposely from ornamental, cinematic strings and repeating piano phrases into soaring chorals. But it's at 'Aestus' where the album's energy shifts, highlighting the vocal performances that bring levity to Shahabi's slow-moving compositions. Sounding a little like Sara Davachi or Max Richter, the piece reflects the composer's film work - she recently scored Charlotte Le Bon's 'Falcon Lake' and Teresa Sutherland's 'Lovely, Dark, and Deep'. It's not all completely acoustic either, 'Tecum' is blessed by synthesized elements that can't help but remind us of Vangelis's 'Blade Runner' score, and Tree Mountain' is a fog of murky drones that works as an apt closing title sequence.
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Stockholm-based pianist and composer Shida Shahabi follows 2018's acclaimed piano-led 'Homes' with a suite of orchestral ambience that'll be sure to appeal to anyone into Stars of the Lid, David Darling, Max Richter or A Winged Victory for the Sullen.
On her debut album, the Swedish-Iranian artist used her piano to craft fragrant, homespun vignettes that were a testament to her skill with the instrument. Here she takes a different approach, focusing on texture and duration, offsetting her assured playing with cello from Linnea Olsson, double bass from Gus Loxbo and vocals from Julia Ringdahl, Nina Kinert and Sara Parkman. Shahabi prepares her piano in a unique way, using felt to dampen the notes and tape delay to stretch them against other sustained instrumentation. Initially, the music sounds startlingly close to Stars of the Lid's epochal 'Tired Sounds...', but as the album develops, it pulls away from its influences and begins to bask in its own moonlight.
The title track is a particular highlight, melting purposely from ornamental, cinematic strings and repeating piano phrases into soaring chorals. But it's at 'Aestus' where the album's energy shifts, highlighting the vocal performances that bring levity to Shahabi's slow-moving compositions. Sounding a little like Sara Davachi or Max Richter, the piece reflects the composer's film work - she recently scored Charlotte Le Bon's 'Falcon Lake' and Teresa Sutherland's 'Lovely, Dark, and Deep'. It's not all completely acoustic either, 'Tecum' is blessed by synthesized elements that can't help but remind us of Vangelis's 'Blade Runner' score, and Tree Mountain' is a fog of murky drones that works as an apt closing title sequence.
Stockholm-based pianist and composer Shida Shahabi follows 2018's acclaimed piano-led 'Homes' with a suite of orchestral ambience that'll be sure to appeal to anyone into Stars of the Lid, David Darling, Max Richter or A Winged Victory for the Sullen.
On her debut album, the Swedish-Iranian artist used her piano to craft fragrant, homespun vignettes that were a testament to her skill with the instrument. Here she takes a different approach, focusing on texture and duration, offsetting her assured playing with cello from Linnea Olsson, double bass from Gus Loxbo and vocals from Julia Ringdahl, Nina Kinert and Sara Parkman. Shahabi prepares her piano in a unique way, using felt to dampen the notes and tape delay to stretch them against other sustained instrumentation. Initially, the music sounds startlingly close to Stars of the Lid's epochal 'Tired Sounds...', but as the album develops, it pulls away from its influences and begins to bask in its own moonlight.
The title track is a particular highlight, melting purposely from ornamental, cinematic strings and repeating piano phrases into soaring chorals. But it's at 'Aestus' where the album's energy shifts, highlighting the vocal performances that bring levity to Shahabi's slow-moving compositions. Sounding a little like Sara Davachi or Max Richter, the piece reflects the composer's film work - she recently scored Charlotte Le Bon's 'Falcon Lake' and Teresa Sutherland's 'Lovely, Dark, and Deep'. It's not all completely acoustic either, 'Tecum' is blessed by synthesized elements that can't help but remind us of Vangelis's 'Blade Runner' score, and Tree Mountain' is a fog of murky drones that works as an apt closing title sequence.
Stockholm-based pianist and composer Shida Shahabi follows 2018's acclaimed piano-led 'Homes' with a suite of orchestral ambience that'll be sure to appeal to anyone into Stars of the Lid, David Darling, Max Richter or A Winged Victory for the Sullen.
On her debut album, the Swedish-Iranian artist used her piano to craft fragrant, homespun vignettes that were a testament to her skill with the instrument. Here she takes a different approach, focusing on texture and duration, offsetting her assured playing with cello from Linnea Olsson, double bass from Gus Loxbo and vocals from Julia Ringdahl, Nina Kinert and Sara Parkman. Shahabi prepares her piano in a unique way, using felt to dampen the notes and tape delay to stretch them against other sustained instrumentation. Initially, the music sounds startlingly close to Stars of the Lid's epochal 'Tired Sounds...', but as the album develops, it pulls away from its influences and begins to bask in its own moonlight.
The title track is a particular highlight, melting purposely from ornamental, cinematic strings and repeating piano phrases into soaring chorals. But it's at 'Aestus' where the album's energy shifts, highlighting the vocal performances that bring levity to Shahabi's slow-moving compositions. Sounding a little like Sara Davachi or Max Richter, the piece reflects the composer's film work - she recently scored Charlotte Le Bon's 'Falcon Lake' and Teresa Sutherland's 'Lovely, Dark, and Deep'. It's not all completely acoustic either, 'Tecum' is blessed by synthesized elements that can't help but remind us of Vangelis's 'Blade Runner' score, and Tree Mountain' is a fog of murky drones that works as an apt closing title sequence.
Black vinyl in silver printed sleeve.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Stockholm-based pianist and composer Shida Shahabi follows 2018's acclaimed piano-led 'Homes' with a suite of orchestral ambience that'll be sure to appeal to anyone into Stars of the Lid, David Darling, Max Richter or A Winged Victory for the Sullen.
On her debut album, the Swedish-Iranian artist used her piano to craft fragrant, homespun vignettes that were a testament to her skill with the instrument. Here she takes a different approach, focusing on texture and duration, offsetting her assured playing with cello from Linnea Olsson, double bass from Gus Loxbo and vocals from Julia Ringdahl, Nina Kinert and Sara Parkman. Shahabi prepares her piano in a unique way, using felt to dampen the notes and tape delay to stretch them against other sustained instrumentation. Initially, the music sounds startlingly close to Stars of the Lid's epochal 'Tired Sounds...', but as the album develops, it pulls away from its influences and begins to bask in its own moonlight.
The title track is a particular highlight, melting purposely from ornamental, cinematic strings and repeating piano phrases into soaring chorals. But it's at 'Aestus' where the album's energy shifts, highlighting the vocal performances that bring levity to Shahabi's slow-moving compositions. Sounding a little like Sara Davachi or Max Richter, the piece reflects the composer's film work - she recently scored Charlotte Le Bon's 'Falcon Lake' and Teresa Sutherland's 'Lovely, Dark, and Deep'. It's not all completely acoustic either, 'Tecum' is blessed by synthesized elements that can't help but remind us of Vangelis's 'Blade Runner' score, and Tree Mountain' is a fog of murky drones that works as an apt closing title sequence.
CD comes in a gatefold silver-printed card wallet.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Stockholm-based pianist and composer Shida Shahabi follows 2018's acclaimed piano-led 'Homes' with a suite of orchestral ambience that'll be sure to appeal to anyone into Stars of the Lid, David Darling, Max Richter or A Winged Victory for the Sullen.
On her debut album, the Swedish-Iranian artist used her piano to craft fragrant, homespun vignettes that were a testament to her skill with the instrument. Here she takes a different approach, focusing on texture and duration, offsetting her assured playing with cello from Linnea Olsson, double bass from Gus Loxbo and vocals from Julia Ringdahl, Nina Kinert and Sara Parkman. Shahabi prepares her piano in a unique way, using felt to dampen the notes and tape delay to stretch them against other sustained instrumentation. Initially, the music sounds startlingly close to Stars of the Lid's epochal 'Tired Sounds...', but as the album develops, it pulls away from its influences and begins to bask in its own moonlight.
The title track is a particular highlight, melting purposely from ornamental, cinematic strings and repeating piano phrases into soaring chorals. But it's at 'Aestus' where the album's energy shifts, highlighting the vocal performances that bring levity to Shahabi's slow-moving compositions. Sounding a little like Sara Davachi or Max Richter, the piece reflects the composer's film work - she recently scored Charlotte Le Bon's 'Falcon Lake' and Teresa Sutherland's 'Lovely, Dark, and Deep'. It's not all completely acoustic either, 'Tecum' is blessed by synthesized elements that can't help but remind us of Vangelis's 'Blade Runner' score, and Tree Mountain' is a fog of murky drones that works as an apt closing title sequence.