Fragments
Deutsche Grammophon, 2022
8/10
A handful of modern electronic artists interpret the work of the French composer Erik Satie here, where pieces from the late 1800’s are turned into modern electronic focused compositions that embraces ambient music, conceptual art, minimalism and rock.
“Piéces froides II: Danses de travers”, by Two Lanes, opens the listen with a calming and fluid display of soft electronica that’s beat driven with much warmth, and “Gymnopédie No. 3” follows with a cinematic appeal that uses keys strategically amid the radiant textures thanks to Henrik Schwarz.
Landing near the middle, “Avant-derniéres pensées: I Idylle”, by Snorri Hallgrímsson, turns minimalism into a refined science with its peaceful and dreamy delivery, while “Gymnopédie No. 1”, by Dominik Eulberg, is especially bright with its shimmering synth and soft percussive sounds.
Moving towards the end, French 79 interpret “Gnossienne No. 5” with a low droning and agile keys alongside a meditative buzzing on the album’s best, and Sascha Braemer’s dance floor ready “Sonneries de la Rose+Croix: I. Air de l’ Ordre” exits the reworkings and recruits a very stylish energy that’s immediately memorable.
A very daring effort that succeeds on all levels, from tranquil to lively and with much care to preserve the integrity of the originals, every moment is executed flawlessly on this very unique listen.
Travels well with: Albrecht Mayer- Mozart: Works For Oboe And Orchestra/Piano; Anna Netrebko- Amata Dalle Tenebre