If you don’t look at the words “songs from before”, as a reference to a collection of old songs, but rather view it as memories from a lost time, however fictional, then the title will noticeably bring nostalgia about. With piano, strings, electronics and words, Max Richter turns our heads to our histories. While his previous compositions were already very gloomy, Songs From Before seems more direct and achieving, almost as if these tracks are the listener’s private possession. The readings of Haruki Murakami magnify this effect, yet do not so much serve as intermissions, for no tension is released by these. The texts can be seen as a red line.

Richter’s work is a fusion of his classical training and more experimental and ambient interests. The influence of the big classical minimalists is explicitly present, as well as that of the electronic greats. However, it would be no surprise to me if Richter’s playlist spanned semi-experimental genres like post-rock and the recent IDM fusions. Although the album is of diverse timbre, it might be easiest described as listening to Sylvain Chauveau or Jóhann Jóhannsson with the radio nonchalantly tuned, or Labradford and Christian Fennesz performing with Yann Tiersen. Richter’s involvement in The Future Sound Of London shouldn’t be so startling now.

While Songs From Before fits in the context of these references, it has Richter’s unique style and a strong concept, highlighting in the 7/8 masterpieces Autumn Music 1 and 2. Played on a sad evening, it can amplify raindrops to a smashing impact. Not only Richter’s strongest effort so far, but a very compelling album in general.