ANNA TERNHEIM LEAVING ON A MAYDAY FREE DOWNLOAD

My Heart Still Beats for You. What Have I Done. Summer Rain Anna Ternheim. AllMusic relies heavily on JavaScript. While hardly as gritty as Yttling ‘s work on Lykke Li ‘s Youth Novels , or his own band’s album Living Thing , Leaving on a Mayday shares with those records an inventive sparseness — achieved more through a spacious openness in the sound than a reduction in the number of instruments, per se — and in particular a relative paucity of guitars in favor of, among other things, surprisingly prominent percussion. Jazz Latin New Age.

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Leaving On A Mayday (Deluxe Edition) by Anna Ternheim on Spotify

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That said, several of Mayday ‘s finest and most striking moments are at least musically upbeat, as with gloriously harmonized choruses of the sweeping opener “What Have I Done” and especially the thundering, Fleetwood Mac -ish “Make It on My Own” one of two Yttling co-writes, and a key track added to the album for its U.

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Leaving on a Mayday

Release Date November 25, The tail-end of the disc finds Ternheim in a folkier vein, with the simply, sweetly strummed “Summer Rain,” the tense, fingerpicked “Off the Road,” and the foreboding, folkloric dirge “Black Sunday Afternoon” offering a nice reminder of her stylistic breadth.

What Have I Done. AllMusic relies heavily on JavaScript. Let It Rain Anna Ternheim.

Leaving on a Mayday – Anna Ternheim | Songs, Reviews, Credits | AllMusic

Off the Road Anna Ternheim. For her third album — which would become her second U. While hardly as gritty as Yttling ‘s work on Anna ternheim leaving on a mayday Li ‘s Youth Novelsor his own band’s album Living Thing tednheim, Leaving on a Mayday shares with those records an inventive sparseness — achieved more through a spacious openness in the sound than a reduction in the number of instruments, per se — and in particular a relative paucity of guitars in favor of, among other things, surprisingly prominent percussion.

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That’s especially true ternyeim the album’s first half, where the pulsing, stripped-down grooves are colored by majestically thick string arrangements penned by Yttlingwho also contributed his multi-instrumental talents throughout. It was a savvy move — for one thing, the collaboration netted Ternheim a Swedish Grammy for Album of the Year — and the results were a modest but significant step away from the accomplished but slightly faceless and overstuffed jazzy lounge-folk of her earlier work, toward an edgier, more distinctly pop direction.

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