In the six years between
And in the Endless Pause There Came the Sound of Bees
and
Orphee
,
Johann Johannsson
became a celebrated film composer, earning back-to-back Oscar nominations for his life-affirming score for
The Theory of Everything
and his ominous, rough-edged music for
Sicario
. During this time,
Johannsson
continued to work on personal projects including this, his
Deustche Grammophon
debut. In its own way,
is also a little like a soundtrack: the composer drew inspiration from the story of Orpheus' ill-fated attempt to rescue his wife Eurydice from the underworld, building on
Ovid
Jean Cocteau
's versions of the tale in his meditations on death, rebirth, and creativity. The Orpheus myth reflected
's life while he worked on the album: his move from Copenhagen to Berlin marked the closing of one chapter in his life and the start of a new one.
Like
is both more intimate than some of his larger works, and immediately recognizable as
's. On "Flight from the City," a gentle but insistent piano motif rises and falls like breath, while strings deepen its sweet ache; layers of counterpoint inspire bittersweet wonder on "The Drowned World"; "Orphic Hymn" showcases the composer's flair for choral pieces, with
Paul Hillier
's
Theatre of Voices
performing lines from
's text in Renaissance style; and "Fragment II" offers a brief burst of his grander scale with its ever-widening sea of drones and strings. This piece features
's main motif, an ascending harmonic pattern that also appears on the ghostly "A Song for Europa," which introduces the staticky, numbers station-like recordings that flicker through the album, adding another layer of distance and mystery.
's studies in change give equal time time to mourning and hope, whether on the spine-tingling "A Pile of Dust" or the way "A Sparrow Alighted Upon Our Shoulder" and "By the Roes, and by the Hinds of the Field" dance between joy and sorrow. Similarly,
makes the album's chiaroscuro qualities explicit on "De Luce et Umbra," where a shadowy, almost subliminal pulse adds tension to the skyward strings, and on the
Emily Dickinson
-inspired diptych "Good Morning, Midnight" and "Good Night, Day," where subtle transitions evoke standing between ends and beginnings. On
expresses the need to let some things and people go to let new ones in with remarkable nuance, as well as the affecting beauty fans have come to know and love. ~ Heather Phares