PDF scanned by University of T Alceste, Wq. Naxos Javascript not enabled. Creative Commons Attribution Non-commercial 3. Creative Commons Attribution 4. Work Title Alceste Alt ernative. Operas ; Theatrical Works ; Tragedies en musique ; For voices, mixed chorus, orchestra ; Scores featuring the voice ; Scores featuring mixed chorus ; Scores featuring the orchestra ; For voices and chorus with orchestra ; Italian language ; French language ; For violin, harpsichord arr ; For 2 players arr ; Scores featuring the violin arr ; Scores featuring the harpsichord arr ; For violin, piano arr ; Scores featuring the piano arr ; For harpsichord arr ; For 1 player arr ; For piano arr ; For orchestra arr ; Scores featuring the orchestra arr ; For strings arr ; Scores featuring string ensemble arr ; For piano 4 hands arr ; Scores featuring the piano 4 hands arr ; For viola, piano arr ; Scores featuring the viola arr ; For harp, violin arr ; Scores featuring the harp arr.
Pieces based on Alceste. Contents 1 Performances 1. Marchal 2. These file s are part of the Werner Icking Music Collection. Javascript is required for this feature. Pub lisher. Manuscript, n. This file is part of the Submission Project. Vienna: Giovanni Tomaso de trattnern, Hungama music gives you the New Alcest mp3 songs easily available to listen online and to download off.
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Submit Cancel. Please enter Valid details Ok got it! Enter Email ID Submit. I've a had a huge case of the lead single effect with "Opale", a track that I didn't think much of when its video was released, but now can't get enough of. The lead hook, the atmospheric aaahs and oohs that the album opens with in "Wings" may be insanely simple, but somehow Neige creates a beautifully uplifting atmosphere with such a simple motif, which is more or less the essence of Alcest's music. The same thing happens in "Voix Sereines", another of my favourite tracks, with that simple little motif that even a child could think of, but Neige uses his voice and his pedalboard to bring it to utter glory.
But I have to comment on the lead riff of "Opale", which I'm still not convinced on. It just feels slightly off. I thought that it would grow on me and I would get used to it, but it still bugs me 10 listens later. The other highlight track here is obviously going to be "Away", Alcest's first English song, featuring Slowdive singer Neil Halstead. On my first listen to Shelter, I have to admit that it got a bit boring, as pleasant and pretty as it was.
The songs just mix into a haze of ambient vocals and delay and reverb and new on this record strings. But then Away comes, with Neil's rather regular vocal delivery, speaking in English. Now, I have to admit my lack of education that, despite knowing about them for years, I have never actually listened to Slowdive although I know exactly what I'm doing when this review is done , but the match of this simple voice with Alcest's dreamy instrumentation is nearly perfect.
Neige's distant background vocals lift up the chorus to great heights, and with this song situated right around the point when you start to get bored of the same sound, it's nearly perfect in reminding you that Alcest are still moving forward. The mood of the music is new and fresh and wonderful for Alcest, but I think in terms of the quantity of riffs that I say are amazing, this isn't their best.
And I think, honestly, that's the only reason that I believe this is the weakest Alcest album yet, simply because of the quantity of great ideas. I love it, but taking the perspective of others, I can see how many who are not Alcest fanboys may find this 'boring'. I really hope Neige continues the happier mood onto further albums, but he really should develop some more great melodies to base the atmosphere on.
Ever since "Eccailes De Lune", the idea of a minute Alcest track has been in the minds of everyone, wanting another thundering epic. It's pleasant music, but the fact that the 9 minutes of "Eccailes De Lune Part I" had more riffs than half of this album really shows how drawn out these pieces are becoming.
Shelter may not be a perfect record. It lacks the sheer quantity of great riffs and melodies that the past Alcest albums had, but I'm definitely loving the happier side. Allegedly this is the first Alcest record where Neige has stopped writing about his 'experience' what it exactly is is still unclear , when he was a child, representing a moving forward of Alcest's music into something new.
Even though I think that Les Voyages is their best record, I could definitely see where people were coming from when they said it was trying to recreate past glory, and Shelter is most certainly a big step forward. It does get a bit empty sometimes, and a few of the songs, for a significant amount of time, are just pleasant ambience, but Opale and Away are definitely amongst Alcest's best tracks. Review by Conor Fynes Prog Reviewer.
To be honest, I'm surprised Alcest haven't been featured in a Subaru commercial already. If that's a stretch, it's at least a near-certainty we'll be hearing them on a movie trailer for some coming-of-age romantic comedy. Regardless whether this prediction is meant to be taken in jest It's not , it's pretty clear that Alcest have, by this point, drifted away entirely from the metal sphere.
For all the discussion and debate this transformation has caused however, surprisingly little has changed in the band's atmosphere and approach. Reverb-laden guitars, fragile vocals and a Romantic longing for childlike essence are all familiar ideas for Alcest. Shelter holds the fort for the most part, but save for a handful of admittedly brilliant standout moments, this album does little to compete with the excellence of the first two.
I might describe the work of Alcest as 'dreamlike'. Not surreal or twisted by any means, but rather the sort of innocent atmosphere you might find in a child's storybook. For about as long as Alcest 's existed as anything but a demo black metal outfit, they've sought to unlock that Romantic notion of inner-looking melancholy in their listeners.
On a more technical level, their fusion of black metal and traditional shoegaze aesthetics has since earned them a legion of imitators. While it's certainly surprising to have seen them turn their backs so absolutely on a style they're said to have invented or at least popularized , the move into undisputed shoegaze territory hasn't resulted in too much of a practical change in sound. After all, even at their most intense, Alcest were never 'particularly' metal to begin with.
If anything's really evolved since the third album, it's the emotional tone. Although the final decision isn't as absolute and one-sided as the metal-shoegaze debate, it's clear that Alcest have taken a turn for the bright and cheery. If the album cover's any indication, the darkness has been swept away; whatever hints of sadness remain are left as suggestions at best. The much-talked about single "Opale" is an example of happiness at its most pure; shimmering guitars, lively leads and gentle vocals convey a rare sense of carefreeness that even Alcest have never before explored.
The trite video, which may be summarized as a pair of amorous teens chasing each other around with neon paints, highlights the sweetness to the point of diabetes-inducing saccharine, but the song itself is quite solid. Let it be known I have nothing against happiness or optimism in music, but listening to Shelter as a whole, I recall the perennial debate whether or not great art is possible without unhappiness.
Looking at "Opale", for example: where the cheerful leads may have been counterpointed with a tinge of sadness on past albums, there's scarcely depth beyond the surface impression. It can be said that others like "La nuit marche avec moi" lend themselves better to emotional interpretation, but Shelter is largely defined by surface-value cheer and atmosphere. The clear exception and emotional highlight here is the ten minute closing track. It may take a while to get going, but this mini-epic is structured with purpose and intention.
Building gradually, it eventually erupts into a quasi-choral idea that falls nothing short of being gorgeous. On the topic of voices, Neige's clean vocals have always been fragile, but I have always thought that sense of vulnerability worked well for the tone they were going for. On Shelter however, his voice too-often crosses the boundary into whininess. The voice itself hasn't changed much since the debut, but there's the impression Neige has become a little too confident with his vocals.
Where they may have been comfortably muddled in the mix on the debut, they now come front and center relative to all else. Even when I may have found myself annoyed by his voice on past albums, the voice took shelter in the waves of distortion and effects.
Neige has little such protection on Shelter ; he can still be praised for having a relatively distinctive voice all things considered, but the static elfishness does little to sway me. On a tangential note, it's a shame Neige decided to let go of his harsh vocals; I'm by no means prejudiced against a non-metal Alcest , but his shrieks were among the most impressive and atmospheric ingredients the band had to offer.
His relatively mediocre clean vocals could have even worked here, but I'd have hoped to hear them play a more subdued role. It should also be noted that Neil Halstead of Slowdive , Neige's favourite band if I'm not mistaken offers his voice on the song "Away".
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