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Track List
01) Warble
02) TWTGA
03) Just Like the First Time
04) Police Police Police Police Police
05) Strange Wind
06) The Towns We Love Is Our Town
07) We Are on the Side of Angels
08) Reflector
09) Postcard From Brilliant Orange
01) Warble
02) TWTGA
03) Just Like the First Time
04) Police Police Police Police Police
05) Strange Wind
06) The Towns We Love Is Our Town
07) We Are on the Side of Angels
08) Reflector
09) Postcard From Brilliant Orange
5:44
5:55
7:10
6:04
4:12
6:34
7:00
7:20
7:12
Data Complete
60%
Total Rating
60%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2014
Ambient
Dreamy
Electronic
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Medium
Album
0 copies
Album Description 
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User Album Review
The pianist David Moore borrowed the name of his minimalist ensemble from “Daylight Come,” a two-page story by the writer Amy Hempel. In it, a newly married widow and widower, Bing and Ruth, go on a tropical vacation, frolicking with an exaggerated romantic energy that almost masks their deeper melancholy. It’s a densely textured, emotional story, sculpted from unvarnished words. Moore has said he took the name partially because he was inspired to write music with the same impressionistic qualities; in his group's second album, Tomorrow Was the Golden Age, they craft a suite of nine movements dense with equally mutable moments.
The sounds of Tomorrow Was the Golden Age are unfixed, able to adapt to new emotions swiftly, from joy to anguish. The album was crafted from a relatively spartan setup—a pair of clarinets, two basses, one cello, a piano, and a tape delay—which makes it feel simple and human. Songs like “Reflector” and “Postcard From Brilliant Orange” are ambiguous, cavernously spaced, and emotional. Tomorrow Was the Golden Age surrounds the listener during moments of wandering and sticks to the walls of daily experience, coloring moments with its bittersweet spirit. –Kevin Lozano
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Click yellow EDIT Button add one in English or another language
User Album Review
The pianist David Moore borrowed the name of his minimalist ensemble from “Daylight Come,” a two-page story by the writer Amy Hempel. In it, a newly married widow and widower, Bing and Ruth, go on a tropical vacation, frolicking with an exaggerated romantic energy that almost masks their deeper melancholy. It’s a densely textured, emotional story, sculpted from unvarnished words. Moore has said he took the name partially because he was inspired to write music with the same impressionistic qualities; in his group's second album, Tomorrow Was the Golden Age, they craft a suite of nine movements dense with equally mutable moments.
The sounds of Tomorrow Was the Golden Age are unfixed, able to adapt to new emotions swiftly, from joy to anguish. The album was crafted from a relatively spartan setup—a pair of clarinets, two basses, one cello, a piano, and a tape delay—which makes it feel simple and human. Songs like “Reflector” and “Postcard From Brilliant Orange” are ambiguous, cavernously spaced, and emotional. Tomorrow Was the Golden Age surrounds the listener during moments of wandering and sticks to the walls of daily experience, coloring moments with its bittersweet spirit. –Kevin Lozano
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