So here’s something fucky. When I was listening through some tunes today, this album popped up. I thought to myself, “Man, I wish I could review this album again.” As I kept scrolling through albums, I realized that I had never reviewed this motherfucker.
So, to the aliens out there that abducted me and implanted me with false memories, watch your asses. Literally, watch those perky plump purple little buttholes. Cause as soon as I find something worthy of intergalactic travel, I’m going on an alien probing tour and your assholes are my finale. Alternatively, if this happens to be a new timeline or some alternative reality, what’s up? I’m Brightly Off-Coloured Discophile. I listen to an album a day and write about it. So sorry if I caused you any confusion.
Let’s get down to fucking business.
If you’re a Nils Frahm, Anne Müller, Poppy Ackroyd, or Peter Broderick fan, then welcome to another name to add to that pile of wicked awesome modern classical composers. Also, if you do happen to know all those names, it would be strange if you didn’t already know who Ólafur was. Dude’s been around. He even writes a bunch of music for the television series Broadchurch. This shit ain’t his first go at the composer bat. Sure, he’s only 31, but he’s been doing this shit since 2004. If you’re quick at math, you would have already figured out that Ólafur started his musical career at the age of fuck-that-talented-Icelandic-asshole (such a strange age).
Badass fact about this album, Ólafur build a new musical system for this bitch called Stratus. Shit works as thus: two self-playing, semi-generative player pianos are triggered by a central piano played by Mr. Ó himself. This means that when Ólafur plays a note, two unexpected harmonies are played by the other pianos. It’s really fucking cool (check it out!) The algorithms generated by this weirdo machine also helped in making that album artwork.
The closest comparison to Ólafur is Nils Frahm (or you can even say the closest comparison to Frahm is Ólafur). Both motherfuckers make machines from pianos, create chill as fuck classical music with electronic elements, and have a super similar musical style. The comparison is not difficult to make. They even collaborate together a bunch (check it). But this doesn’t mean that they are the same. I know what differences I find between them, but I’m not going to tell you. Who gives a flying fuck about comparisons if it’s all good music? And that’s what Ólafur is, he makes good fucking music.
He has a beautiful minimalistic style of classical music that crosses with electronic music that you feel you’ve heard before in a lovely dream. In fact, I feel like I’m in a dream right now as I’m listen to it. Let’s hope not though, cause if all of this turns out to be a dream, there’s no fucking way I’m writing this review a third time.