No One Is There


Nico wasn’t fond of musical niceties such as string sections; her urge was always towards the atonal. But despite her general disinterest in things of beauty, she could sometimes be convinced to produce something pretty. And some of her greatest works were the ones where strings and flutes and conventional melodies were allowed to surround her eerie voice. John Cale, as producer, deserves a lot of credit here, for bringing in a quartet of violas and making them just avant-garde enough to pass Nico’s muster. The effect is surreal, and very beautiful, and almost warm.

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