While The Flood Rages Max Richter

• Max Richter (b. 1966):
• 1 Wave After Wave (Intro) (48kHz) 00:37
• 2 Wave After Wave 05:12
• 3 Their Eerie Music 01:31
• 4 Their Eerie Music (Outro) (48kHz) 00:32
• 5 While The Flood Rages 05:10
• 6 The City Was A Chaos (Intro) 01:36
• 7 The City Was A Chaos 05:36
• 8 Sensorium (48kHz) 01:07
• 9 Quiet 04:24
• 10 Tell The Bees (Intro) (48kHz) 01:51
• 11 Tell The Bees 03:30
• 12 Data Ballistics (48kHz) 03:54
• 13 Oh Let Me Not Be Proud (48kHz) 02:44
• 14 A Sweet Air 04:26
• 15 Amniotic (48kHz) 03:41
• 16 Dawn 08:18
• 17 Background Radiation (48kHz) 03:42
• 18 My Body Is My Earthly Ark (48kHz) 01:51
• 19 Now We Can Sing 11:36
• Total Runtime 01:11:18

Info for While The Flood Rages

Max Richter’s longstanding partnership with choreographer Wayne McGregor has yielded another achingly beautiful album. While The Flood Rages, out Oct. 16 via Decca Records and available for pre-order now, is taken from the ballet MaddAddam, the Oscar-nominated composer’s most recent collaboration with McGregor.

MaddAddam was a co-commission between the National Ballet Of Canada and the Royal Opera House. Inspired by Margaret Atwood’s dystopian MaddAddam trilogy, it’s Richter and McGregor’s third major collaboration following Infra and Woolf Works. Though the duo’s work on MaddAddam dates back to before the COVID-19 pandemic, it speaks to this moment with urgency, engaging in themes of ecological crisis, technological acceleration, and human connection.

Richter has extensive experience composing soundtracks, including his Oscar-nominated score for Hamnet and his acclaimed work for HBO’s The Leftovers. Yet While The Flood Rages is not a direct soundtrack to MaddAddam. Instead, Richter calls it a companion work, its 15 tracks divided into three acts. “I took the material apart and created a trajectory that makes sense just through listening,” he says. “It’s a different way to reach the same destination.”

On this tracklist, the ultimate destination is “Now We Can Sing,” which doubles as the album’s closing track. Inspired directly by Atwood’s text, the song is built from a piano motif that recurs throughout the album, expanding into a choral finale that works as a reflection on the human voice and the power of connection.

Richter is hosting global listening events to celebrate the release of While The Flood Rages. Inspired by the burgeoning culture of listening bars in cities such as Tokyo, London, Seoul, Copenhagen, New York and Melbourne, the intimate gatherings will transform cafés, wine bars and hi-fi venues into temporary listening rooms where guests will be invited to disconnect from their devices and immerse themselves in the music.

Max Richter

Please Note: This album consists of different sampling rates. See track list - behind each track you'll find the sampling rate.

Max Richter
The work of the award-winning British composer Max Richter includes concert music, film scoring, and a series of acclaimed solo albums.

Working with a variety of collaborators including Tilda Swinton, Robert Wyatt, Future Sound of London, and Roni Size, Max's work explores the meeting points of many contemporary artistic languages, and, as might be expected from a student of Luciano Berio, Max’s work embraces a wide range of influences.

Recent projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet, with scenography by Julian Opie, the award-winning score to Ari Folman's Waltz with Bashir, and the music installationThe Anthropocene, with Darren Almond at White Cube.

Max's music has formed the basis of numerous dance works, including pieces by Lucinda Childs, NDT, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while film makers using work by Max include Martin Scorsese (Shutter Island).

Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, premiered at The Royal Opera House, London and Mercy, commissioned by Hilary Hahn.

Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin, as well as a variety of other recording and film projects.

This album contains no booklet.