We already mentioned this in the light of the events two years ago. German audiences tend to have a difficult time with unusual and demanding pop. Singer, composer and pianist Agnes Obel, born in Denmark and living in Berlin since 2006, can tell you a thing or two about that. Her beautiful debut album “Philharmonics”, a compendium of fragile, clearly structured and superbly arranged songs was not only celebrated by critics in her home country and on the other side of the Rhine but sold in “platinum” dimensions. But not really in Germany, even though her concert at ENJOY JAZZ in November 2011 had a sensational intensity and intimacy. In early 2012 in Kreuzberg, Obel started working on her second album “Aventine”, which was released at the end of September. The formula has remained the same—wayward, minimalistically orchestrated chamber music dream-pop with poetic texts—but the acoustic patterns have become a little more precise. There is no question: “Aventine”, has become one of the great albums not only of this year. Will this again go unnoticed here in Germany?