Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Gute Nacht (Good Night) song no. 1
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Die Nebensonnen (The Phantom Suns) song no. 23
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Mut (Courage) song no. 22
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Die Post (The Post) song no. 13
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Erstarrung (Numbness) song no. 4
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Wasserflut (Flood of Tears) song no. 6
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Der Lindenbaum (The Linden Tree) song no. 5
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Der Leiermann (The Organ-Grinder) song no. 24
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): T?uschung (Illusion) song no. 19
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Das Wirtshaus (The Inn) song no. 21
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Der St?rmische Morgen
Winterreise (12), transcription for piano (after Schubert, D. 911), S. 561 (LW A50): Im Dorfe (In the Village) song no. 17
Die Rose (I), transcription for piano (after Schubert, D. 745a), S. 556i (LW A17)
Lob der Tr?nen (B?n?diction des larmes), transcription for piano (after Schubert, D. 711b), S. 557 (LW A45)
Lebewohl, transcription for piano (after 'Schubert', i.e. von Weyrauch), S. 563/1 (LW A109/1)
M?dchens Klage, transcription for piano (after Schubert, D. 871), S. 563/2 (LW A109/2)
Das Sterbegl?cklein, transcription for piano (after Schubert, D. 871), S. 563/3 (LW A109/3)
Die Forelle (II), transcription for piano (after Schubert, D. 550), S. 564 (LW A127)
After 17 albums, Australia's premier purveyors of neopsychedelic dream pop have finally come unplugged. The Liberation Blue Acoustic Series finds the veteran fourpiece laying down 14 cuts ? including five new tracks ? over... more » the span of a weekend. Beginning with "The Unguarded Moment" from 1981's Of Skins and Heart, they gently burn through classics like "Metropolis" and "Under the Milky Way" with an intimacy and intensity that feel more natural than any studio album that they've released in the last ten years. Though billed as acoustic, the Church are far too experimental to just sit in front of the mikes and see what happens; rather, they paint flange on key cymbal crashes, insert the occasional vocal effect, and rearrange the songs to fit the new format with mesmerizing results. Steve Kilbey's long cadences, Tim Powles' spooky percussion and vibes, Peter Koppes' mandolin and harmonica, and Marty Willson-Piper's intricate guitar work have never sounded better ? one wishes that they would have applied this aesthetic earlier in their career, as it complements their sound far better than the overly atmospheric production that's marred them in the past. el momento descuidado is both intimate and far-reaching. The Church have made a career out of dreamy,reverb-drenched landscapes of murkiness and beauty. Here they've reduced their songs to the point of clarity, which is both triumphant and long overdue.« less
After 17 albums, Australia's premier purveyors of neopsychedelic dream pop have finally come unplugged. The Liberation Blue Acoustic Series finds the veteran fourpiece laying down 14 cuts ? including five new tracks ? over the span of a weekend. Beginning with "The Unguarded Moment" from 1981's Of Skins and Heart, they gently burn through classics like "Metropolis" and "Under the Milky Way" with an intimacy and intensity that feel more natural than any studio album that they've released in the last ten years. Though billed as acoustic, the Church are far too experimental to just sit in front of the mikes and see what happens; rather, they paint flange on key cymbal crashes, insert the occasional vocal effect, and rearrange the songs to fit the new format with mesmerizing results. Steve Kilbey's long cadences, Tim Powles' spooky percussion and vibes, Peter Koppes' mandolin and harmonica, and Marty Willson-Piper's intricate guitar work have never sounded better ? one wishes that they would have applied this aesthetic earlier in their career, as it complements their sound far better than the overly atmospheric production that's marred them in the past. el momento descuidado is both intimate and far-reaching. The Church have made a career out of dreamy,reverb-drenched landscapes of murkiness and beauty. Here they've reduced their songs to the point of clarity, which is both triumphant and long overdue.