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Agora Image

Universal acclaim - based on 9 Critics What's this?

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Generally favorable reviews- based on 8 Ratings

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  • Summary: The seventh full-length release for the Austrian experimental electronic artist was recorded in his bedroom when he lost his studio space.
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Score distribution:
  1. Positive: 9 out of 9
  2. Mixed: 0 out of 9
  3. Negative: 0 out of 9
  1. Apr 4, 2019
    The album’s strengths aren’t limited to its bookends. ‘Rainfall’ would go down as the instrumental track of the year if not for the vocal contributions of Katharina Caecilia Fennesz, which blend so gracefully in the mix that you might not even realize they’re a human instrument.
  2. Apr 2, 2019
    There’s something special about Agora in how it integrates the immediate pleasure of his pop influences with the patience of his extended works.
  3. Mar 27, 2019
    The unpolished feel of Agora is a bit striking for a Fennesz release, but it's clearly just as carefully considered as his other albums, and makes a welcome addition to his catalog.
  4. Mar 27, 2019
    This is an album that is full of glorious melodies, harsh noise and field recordings. Agora is the strongest, and most cohesive, album that Fennesz has released in over a decade, and that is no mean feat.
  5. Mar 27, 2019
    Fennesz has produced a maximalist experience with apparently minimal equipment but this is not about the machines rather the human producing the sounds. Agora is another deep exploration of the boundaries of experimental guitar ambience in which to lose oneself.
  6. 80
    Agora is hypnotic, transient and valuable and a rarity which although oppressive at times ultimately delivers on a promise as tangible as it is striking.
  7. Mar 27, 2019
    The album is somewhat lacking in range, but otherwise, Agora offers no evidence of compromise. If anything, Fennesz turned that bit of adversity into artistic license.

See all 9 Critic Reviews

Score distribution:
  1. Positive: 0 out of 1
  2. Negative: 0 out of 1
  1. Apr 4, 2019
    Apr 2, 2019
    6 When I listened to albums like Leon Vynehall's, I loved it. Most people loving this kind of album are fond of its
    Apr 2, 2019
    When I listened to albums like Leon Vynehall's, I loved it. Most people loving this kind of album are fond of its stories that tracks tell us. On the other hand, Each song has too many voices which configure individual plot. It's not a problem at all, but some people that make much of probability of temporal mood-flowing and a sticky musical bond between tracks. I don't mean to blame Vynehall's composition in his album. I just said, Why don't we focus on that. Sometimes we want to consistent-for-about-a-hour music, and Fennesz shows us.
    Finally, I can answer, Have I Idolized illusions. He says that Key is 'Doing structuralism enough'. The album like this can hardly avoid criticism of Tautology. I agree. Boring is Boring. Repetitive is Repetitive. It may stand for a long-term musical subject. Historically,
    Structural variation of form is the precautionary measure. But I don't feel Fennesz doing breathtakingly walk on a tightrope of configuration structure. And I think He didn't even try to break the frame of the genre, but just lean his back on the limit in an ultimately cozy and comfortable way. very comfortable way.
    I appreciate him displaying longing album. I finally can perceive its forms. Thanks.