Among them, there’s the enigmatic Jamaican singer Nora Dean who weighs in with the hypnotic and slinky Duke Reid production, ‘Ay Ay Ay Ay (Angie-Lala)’ and the sparse, sardonic ‘Party Girl’ by Michelle Gurevich, so good it inspired the eponymous French movie. There are the plangent voices, The Bulgarian Folklore Choir, Nina Si- mone, Ray Davies and Agnes herself, ringing true. Some- how, Ms Obel makes even makes the electronic tracks bow to her needs as with Yello whose ‘Great Mission’ is more Martin Denny than Underworld and cult Greek com- poser Lena Platonos’ ‘Bloody Shadows From A Distance’ pulses gently rather than throbs and Can’s recently redis- covered ‘Obscura Primavera’, unusually hushed.
"I was surprised at how much time I ended up spending on this. I collected all the songs together with my partner Alex and we just spent time listening to records, trying to see what would t together. Some of the music I’ve included here is on mixtapes we made when we were just friends as teenagers. Each one of the tracks produces stories in my head." - Agnes Obel, February 2018