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Max Richter's 'Three Worlds doesn't fit neatly into categories / popmatters review

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Max Richter doesn't fit neatly into genre categories. He doesn't follow the line of Sigur Rós and Godspeed! You Black Emperor into the postmodern icicle of long tracks and self-seriousness. He doesn't write scores exclusively, although his non-score records sound like they are score records and vice-versa, and he isn't a conservative classicist. He is something different altogether. In his most iconic moments, Richter is an instantly satisfying composer, soundtracking to our dreams and memories. His textures are thick and evoke the moments we forgot or are too afraid to remember and the memories we treasure.

But his discography isn't that simple. He has records like Sleep that challenge the very fabric of what music is for and in what it is. Richter's new work, Three Worlds, doesn't neatly fit into any of those categories. It has moments of Memoryhouse radiance, and is orchestral enough to recall The Four Seasons but doesn't necessarily remind me of either of those. Three Worlds is based on the legendary works of Virginia Woolf. 

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