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An ambitiously themed, leftfield, modern classical album that not only impresses, but totally enthrals.
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Fordlândia trilogy is simultaneously skillful, gorgeous, and a bit too polished--they're a pristine composition on a record full of them, but it doesn't gel with the messy, self-destructive historical footnotes that inspired them.
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In the end, the album is a fascinating musical thesis that can function with or without its brain intact.
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Beautiful, thoughtful, and sad on a grand scale, Fordlandia is nearly as ambitious as the stories it tells, but unlike its source material, it's another success for Jóhannsson.
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MojoMuch looser and more interpretative than its predecessor. [Jan 2008, p.111]
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UncutHowever dry or highbrow it may sound on paper, Johannsson's melodious symphony of strings, electronics and choral elements is totally accessible and, for most of its 60-plus minutes, achingly lovely. [Jan 2008, p.101]
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Q MagazineA work of astonishing beauty with a time travel concept more out-there than Bjork's ever been. [Dec 2008, p.133]
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With Jóhannsson's surety of touch, Fordlândia becomes a wonderfully intense piece of work.
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In the end, there's a fair amount more musical variety on Fordlandia, but at the same time it doesn't hold quite the emotional resonance that past releases from Johannsson have had, largely because the music on the release feels much more obvious.