"They don't sleep anymore on the beach"

- Godspeed You! Black Emperor
 

Leaf Metal (album) by Adam Roberts 

This album At A Glance
Leaf Metal
Leaf Metal by Adam Roberts (2014)
Release date: 2014-01-01
Overall rank: 50,934th   Overall chart history
Average Rating: 
73/100 (from 2 votes)
  Ratings distribution
Accolades: Top albums of 2014 (1,736th)
Top albums of the 2010s (13,021st)
Best albums of all time (50,934th)

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Adam Roberts - Leaf Metal [New CD]
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16d 13h 50m 13s

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Leaf Metal Adam Roberts Audio CD
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Adam Roberts bestography

Adam Roberts album bestography « Higher ranked This album (50,934th) Lower ranked »
-Leaf Metal-

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Leaf Metal rankings

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All 2 charts that this album appears in:

YearSourceChartRankRank Score
2018 TapTop 100 Music Albums of 201488/1001
2018 dividesbyzeroTop 100 Music Albums of 201422/1004
Total Charts:   The total number of charts that this album has appeared in. 2
Total Rank Score:   The total rank score. 5

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Leaf Metal collection

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dividesbyzero

Leaf Metal ratings

Average Rating: 
73/100 (from 2 votes)
  Ratings distribution  Average Rating = (n ÷ (n + m)) × av + (m ÷ (n + m)) × AV
where:
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n = number of ratings an item has currently received.
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Rating
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Avg. album rating
 
65/100
09/17/2016 19:30
74/100
 
75/100
01/31/2015 21:01
76/100

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Leaf Metal favourites

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dividesbyzero

Leaf Metal comments

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From dividesbyzero 09/10/2014 05:36
Leaf Metal contains five piece (all composed by American composer Adam Roberts) performed (in order of appearance) by the Arditti Quartet (who are something of a big deal in the Modern Classical world, having given world premiers of pieces from some of contemporary classical music's most eminent composers), French conductor Lorraine Vaillancour conducting the Nouvel Ensemble Moderne (of which she is founder and artistic director), multi-instrumentalist Gabriela Diaz (who happens to be violinist on this particular recording), the Boston Conservatory Wind Ensemble, and Cellist Benjamin Schwartz. The album opens with the only thing predictable about this particular school of composition, which is, essentially, unpredictability. Tangled symmetries burns through a cycle of "didn't see that coming" bursts of dissonance (landing on a cadence right when you think they're about to peak at some kind of free improv jam), somewhat reminiscent of Penderecki circa "Threnody For the Victims of Hiroshima" only less direct, more aggressive, and less downright terrifying. Tangled Symmetries is probably the most abrasive piece on the album, so if you've made it this far, congratulations, chances are you'll like what comes ahead. My particular favorite being Strange Loops, which is more or less what it sounds like; the dissonance and atonality are still there, but they act as part of a cycle that moves into an actual straightforward melody (ironically the only thing I didn't see coming at this point) underneath which, Roberts, taking cues from the likes of Xenakis and Varèse, develops a series of understated electronic tones and tape loops (everything from what sounds like compressed air being intermittently released from a chamber to what sounds more like a syncopated bike chain) that guide the piece for most of its 11 minute duration as it teeters back and forth between harmony and chaos. (The rest of the album is fantastic as well but I'm lazy)
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