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<a href="spotify:album:6iOxEug0PvK5Nw8j75gPFt" data-name="Versailles">Versailles</a> is the new ambient/neo-classical album from composer and sound artist, Daniel G. Harmann. A deeply immersive and emotionally resonant work that explores memory, decay, and the looping nature of time. Named after the iconic French palace, Versailles serves not as a destination, but as a dreamspace; a monument to both grandeur and impermanence.
Built around expressive piano lines and haunting synth textures reminiscent of Max Richter, Nils Frahm, John Foxx, and even Boards of Canada, Versailles dissolves the boundary between structure and atmosphere. Field recordings, captured by Harmann himself, from snowstorms, conversations, beaches, city streets, and of course BIRDS - drift through the compositions like half-remembered scenes, grounding the album even as it reaches into the abstract.
Recurring motifs reappear in altered or reversed forms, creating a sense of emotional déjà vu and cyclical unfolding. Microloops and chopped vocal fragments emerge and vanish like echoes in a vast hall, more presence than message. The result is a sonic environment that feels both intimate and immense.
Designed to support altered states of consciousness and deep introspection, Versailles also stands wholly on its own, as a work of sonic beauty and emotional depth within the ambient and neo-classical traditions.
Like its namesake, it is both monument and mirror.
<a href="spotify:album:6iOxEug0PvK5Nw8j75gPFt" data-name="Versailles">Versailles</a> is the new ambient/neo-classical album from composer and sound artist, Daniel G. Harmann. A deeply immersive and emotionally resonant work that explores memory, decay, and the looping nature of time. Named after the iconic French palace, Versailles serves not as a destination, but as a dreamspace; a monument to both grandeur and impermanence.
Built around expressive piano lines and haunting synth textures reminiscent of Max Richter, Nils Frahm, John Foxx, and even Boards of Canada, Versailles dissolves the boundary between structure and atmosphere. Field recordings, captured by Harmann himself, from snowstorms, conversations, beaches, city streets, and of course BIRDS - drift through the compositions like half-remembered scenes, grounding the album even as it reaches into the abstract.
Recurring motifs reappear in altered or reversed forms, creating a sense of emotional déjà vu and cyclical unfolding. Microloops and chopped vocal fragments emerge and vanish like echoes in a vast hall, more presence than message. The result is a sonic environment that feels both intimate and immense.
Designed to support altered states of consciousness and deep introspection, Versailles also stands wholly on its own, as a work of sonic beauty and emotional depth within the ambient and neo-classical traditions.
Like its namesake, it is both monument and mirror.
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