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If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006. Guitarist\/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa's Wierd. Carissa's Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell's warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All the Time, with producer Phil Ek at Seattle's Avast studios.At times raggedly epic (\"The Great Salt Lake\") and delicately pensive (\"St. Augustine,\" \"Monsters\"), Everything All The Time is an album painted gorgeously in fragile highs and lows. That's part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there's the massive single, \"The Funeral,\" which became a defining song of the era, and continues to inspire new generations of fans and artists alike. On top of tons of film and TV placements, the song was sampled by Kid Cudi, and transformed into a 2025 dance edit by acclaimed producer\/multi-instrumentalist Gryffin. Now, on the occasion of the 20th birthday of the album, Sub Pop and Band of Horses present the definitive snapshot of the band circa Everything All The Time. For this anniversary release, the album has been fully remastered, with the artwork refreshed and expanded into a gatefold jacket with liner notes by Phil Ek. 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There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within it's confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in '89 and get heads bopping. There are moments in music when masters of their craft cross paths at the height of their respective powers-records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury-where the result is more than the sum of it's parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID's feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. 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There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within it's confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in '89 and get heads bopping. There are moments in music when masters of their craft cross paths at the height of their respective powers-records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury-where the result is more than the sum of it's parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID's feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. 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His father was a painter and at the same time extremely interested in music, therefore a musical education was a wholly natural thing for the young Erling. Already at the age of seven he received violin tuition and was made familiar with chamber music through the cellist Emil Robert Hansen, the brother of the pianist Agnes Adler, whose piano trio was to be of great signifi- cance for him. He entered the conservatoire at the age of fifteen where already in 1922 he gave his de'but concert, and only one year later became a member of The Royal Danish Orchestra. Here he was active until 1954, when teaching steadily began to take up more of his time. He had taught at the conservatoire since 1946 and became a professor there in 1949. Here he was held in affection and admired by his pupils, and was musically a central force at the conservatoire until he had to retire at the age of seventy. After his retirement he continued as an examiner. I met him repeatedly for many years at The Royal Academy of Music where I was a member of the staff. He was always friendly, attentive and witty, in short, a person whom we always looked forward to meeting.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eString Quartet No. 13 in B flat major, Op. 130~I. Adagio man non troppo - Adagio\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 13 in B flat major, Op. 130~II. Presto\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 13 in B flat major, Op. 130~III. Andante con moto, ma non troppo\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 13 in B flat major, Op. 130~IV. Alla danza tedesca\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 13 in B flat major, Op. 130~V. Cavatina. Adagio molto espressivo\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 13 in B flat major, Op. 130~VI. Finale, Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 8 in G major Op. 30 No. 3~I. Allegro assai\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 8 in G major Op. 30 No. 3~II. Tempo di menuetto, ma molto moderato e grazioso\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 8 in G major Op. 30 No. 3~III. Allegro vivace\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 9 in A major Op. 47 \"Kreutzer\"~I. Adagio sostenuto - Presto\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 9 in A major Op. 47 \"Kreutzer\"~II. Andante con variazioni\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 9 in A major Op. 47 \"Kreutzer\"~III. Finale. Presto\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 3 in E flat major, Op. 14~I. Allegro con brio\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 3 in E flat major, Op. 14~II. Andante sostenuto\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 3 in E flat major, Op. 14~III. Allegretto pastorale - Presto - Allegretto pastorale\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 3 in E flat major, Op. 14~IV. Finale. Allegro coraggioso\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 4 in F major, Op. 44~I. Allegro non tanto e commodo\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 4 in F major, Op. 44~II. Andante con sentimento religioso\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 4 in F major, Op. 44~III. Allegro moderato ed innocente\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 4 in F major, Op. 44~IV. Molto adagio - Allegro non tanto ma molto scherzoso\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 1, Op. 46~Affettuoso - animato\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 1, Op. 46~Adagio - andante - presto - andante - adagio\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 1, Op. 46~Lento un poco - molto vivace\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 3 No. 5 in F major~I. Presto\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 3 No. 5 in F major~II. Serenade: Andante cantabile\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 3 No. 5 in F major~III. Menuetto\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 3 No. 5 in F major~IV. Scherzando\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 65 No. 5 in D major, \"The Lark\"~I. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 65 No. 5 in D major, \"The Lark\"~II. Adagio cantabile\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 65 No. 5 in D major, \"The Lark\"~III. Menuet ; Trio: Allegretto\u003c\/li\u003e\n\u003cli\u003eString Quartet Op. 65 No. 5 in D major, \"The Lark\"~IV. Finale: Vivace\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 12 in C minor, D 703, \"Quartettsatz\"\u003c\/li\u003e\n\u003cli\u003eSerenata for Flute, Violin, Cello and Piano, Op. 18~Allegro animato\u003c\/li\u003e\n\u003cli\u003eSerenata for Flute, Violin, Cello and Piano, Op. 18~Adagio - presto\u003c\/li\u003e\n\u003cli\u003eConcertino for String Quartet\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 6, Sz 114~I. Mesto. Píu mosso, pesante - Vivace\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 6, Sz 114~II. Mesto. Marcia\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 6, Sz 114~III. Mesto - Burletta. Moderato\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 6, Sz 114~IV. Mesto\u003c\/li\u003e\n\u003cli\u003eDivertimento for Flute, Violin and Cello in G major, Hob IV:7~I. Allegro\u003c\/li\u003e\n\u003cli\u003eDivertimento for Flute, Violin and Cello in G major, Hob IV:7~II. Adagio\u003c\/li\u003e\n\u003cli\u003eDivertimento for Flute, Violin and Cello in G major, Hob IV:7~III. Allegro\u003c\/li\u003e\n\u003cli\u003eVariations in G major on Wenzel Müller's \"Ich bin der Schneider Kakadu\", for Piano Trio, Op. 121a\u003c\/li\u003e\n\u003cli\u003eFlute Quintet No. 1 in D major, Op. 51~I. Allegro\u003c\/li\u003e\n\u003cli\u003eFlute Quintet No. 1 in D major, Op. 51~II. Menuetto: Allegro con spirito\u003c\/li\u003e\n\u003cli\u003eFlute Quintet No. 1 in D major, Op. 51~III. Adagio, ma non troppo\u003c\/li\u003e\n\u003cli\u003eFlute Quintet No. 1 in D major, Op. 51~IV. Finale: Allegro assai\u003c\/li\u003e\n\u003cli\u003eTrio for Flute, Violin and Piano in G major, Op. 119b\u003c\/li\u003e\n\u003cli\u003eSonata II in G minor~Menuet for Flute, Violin and Cello\u003c\/li\u003e\n\u003cli\u003ePiano Trio in F major, Op. 42~I. Allegro animato\u003c\/li\u003e\n\u003cli\u003ePiano Trio in F major, Op. 42~II. Allegro molto vivace\u003c\/li\u003e\n\u003cli\u003ePiano Trio in F major, Op. 42~III. Andantino\u003c\/li\u003e\n\u003cli\u003ePiano Trio in F major, Op. 42~IV. Finale, Allegro con fuoco\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 15 in A minor, Op. 132~I. Assai sostenuto - Allegro\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 15 in A minor, Op. 132~II. Allegro ma non tanto\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 15 in A minor, Op. 132~III. Heiliger Dankgesang eines Genesenden an die Gottheit, in der lydischen Tonart (Mo\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 15 in A minor, Op. 132~IV. Alla marcia, assai vivace\u003c\/li\u003e\n\u003cli\u003eString Quartet No. 15 in A minor, Op. 132~V. Allegro appassionato\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 5 in F major, Op. 24, \"Spring\"~I. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 5 in F major, Op. 24, \"Spring\"~II. Adagio molto espressivo\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 5 in F major, Op. 24, \"Spring\"~III. Scherzo (Allegro molto - Trio)\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 5 in F major, Op. 24, \"Spring\"~IV. Rondo. Allegro non troppo\u003c\/li\u003e\n\u003cli\u003eSerenade for Flute, Violin and Cello, Op. 26b~Allegro concertante\u003c\/li\u003e\n\u003cli\u003eSerenade for Flute, Violin and Cello, Op. 26b~Romanza\u003c\/li\u003e\n\u003cli\u003eSerenade for Flute, Violin and Cello, Op. 26b~Vivace e giocoso\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 28 in E flat major, K 380~I. Allegro\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 28 in E flat major, K 380~II. Andante con moto\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 28 in E flat major, K 380~III. Rondo. Allegro\u003c\/li\u003e\n\u003cli\u003eSonata for Flute, Violin, Cello and Piano in B flat major, Op. 1 No. 1~I. Allegro\u003c\/li\u003e\n\u003cli\u003eSonata for Flute, Violin, Cello and Piano in B flat major, Op. 1 No. 1~II. Andante\u003c\/li\u003e\n\u003cli\u003eSonata for Flute, Violin, Cello and Piano in B flat major, Op. 1 No. 1~III. Allegretto\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 3 in D minor, Op. 10b\u003c\/li\u003e\n\u003cli\u003eFantasy for Violin and Piano in C major, D 934~I. Andante molto\u003c\/li\u003e\n\u003cli\u003eFantasy for Violin and Piano in C major, D 934~II. Allegretto\u003c\/li\u003e\n\u003cli\u003eFantasy for Violin and Piano in C major, D 934~III. Andantino, Variations on the Lied \"Sei mir gegrüsst\"\u003c\/li\u003e\n\u003cli\u003eFantasy for Violin and Piano in C major, D 934~IV. Tempo primo - Allegro vivace\u003c\/li\u003e\n\u003cli\u003eQuartet No.2 in C minor~Scherzo\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 2, Op. 35~I. Allegro - piú moderato - agitato - tempo I - poco meno mosso\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 2, Op. 35~II. Molto adagio\u003c\/li\u003e\n\u003cli\u003eViolin Sonata No. 2, Op. 35~III. 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