Thursday, November 29, 2007

[Kiila|Silmät Sulkaset]不知不覺中的流淌


Artist:Kiila
Album:Silmät Sulkaset
Release Date:2004-04-15
Label:Fonal Records
Country:Finland
Genre: Electronic
Style: Leftfield, Modern Classical

Tracklisting:

1
Kelmejä (5:03)
2
Auringonlunta (4:18)
3
Kiviä Ja Taivasta (3:39)
4
Kateet Linnut (5:36)
5
Tapanina Aukesi Vuori (5:03)
6
Minä-laulu (2:22)
7
Väsäilyn Luostari (5:26)
8
Pysähtyneet Planeetat (5:09)

簡介。。。。。。
By now you must be pretty bored with us banging on about the Fonal back catalogue! This week it’s a release from Finnish band Kiila that’s hitting the spot; ‘Silmät Sulkaset’ is a glowing triumph, even for Fonal’s bubbling catalogue of delights. Taking little floating shards of post rock (not too much mind, wouldn’t want to lose the jaunty originality), drinking from the waters of folk and grazing in the green pastures of pop we end up with an album that’s easy to listen to but damned hard to define. Residing somewhere inbetween Sigur Ros, Joanna Newsom, The Doors and The Animal Collective (wherever it is that leaves us) this is an album filled with mystery. With an unrivalled scope, production values that unlike most of this corner of the music scene are anything but lo-fi and an unrivalled sense of energy, Kiila are a hugely essential piece of the Fonal jigsaw puzzle. If you have been kicked out of apathy by any of the other lovely Fonal releases which have appeared out of the musical ether recently then you should really give Kiila’s strange visions a musical home...

Kiila is a semi-acoustic psychedelic folk-pop which was originally formed around 1997 by two friends, Niko-Matti and Sami. In the course of three years, five friends of the group joined the band. Juho Kaitajärvi, Markus Mäki, Laura Naukkarinen (aka Lau Nau), Juri Puhakka and Sami Rouhento all brought many influences with them. "The language of the songs has reverted back to Finnish, and the human voices rest on a warm texture of sounds from an array of acoustic and electronic instruments. Carefully arranged songs alternate with those improvised on the spot, all bearing the mark of a handcrafted article." (Sami - album notes)

我的碎碎唸。。。。。。評價指數:8.6/10
又是來自Fonal,又是一張很棒的芬蘭民謠,而且Kiila裏有Lau Nau。真是好啊。很好聽,帶著神秘與迷幻。整張專輯在不知不覺中就聼完了,于是一遍又一遍不厭其煩地聼著。。。
去豆瓣上看看。。。。。。

Wednesday, November 28, 2007

[Voks|Vaks Vanskab Ak]稀奇古怪幻想盤


Artist:Voks
Album:Vaks Vanskab Ak
Release Date:2003
Label:Dekorder
Country:Germany
Genre: Electronic
Style: Abstract, Experimental, Electro

Tracklisting:

1
Skelet Togt (2:13)
2
Hottenslot (1:39)
3
Kap Nakken Hak Hak Hak (2:44)
4
Tuuie (2:32)
5
Flaterne Kommer (2:21)
6
Hest I Hul (1:08)
7
Kaks (1:31)
8
Ankergang (2:46)
9
Klarina (2:21)
10
Obo Omo (1:35)

簡介。。。。。。
Voks from Copenhagen, Denmark has previously released his music on an Ed Davenport 12 and the Xart Hybrid compilation, as part of Goodiepals Goodiebag/ Demonbag 7 series on V/VM and via the datamusik.dk website.

Vaks Vanskab AK is his debut album (well, we call it album) and contains 10 (yes t-e-n) beautifully disturbing and happily sad little sketches. While being deeply influenced by early releases of the Rer, Aaya disques, ATA TAK, Ralph Records and Crammed disc labels, Voks perfectly translates his preferences to highly original and individual musical instruments. We call it Perfect Pop Music (but who asks us?).

我的碎碎唸。。。。。。評價指數:8.4/10
這個來自哥本哈根的丹麥帥哥很有意思,他的音樂很好笑,很可愛,也真的很抽象。這張20多分鐘的小專輯裏,融入了太多太多的音樂元素,太多太多怪里怪氣的音符,真是令耳朵一點空閒的時間也沒有,而且乾淨利索不拖遝。這樣的音樂對於很多人來講,可能實在是太古怪了,但是我縂是會被這種稀奇古怪的音樂所吸引,真是張不錯的專輯。和現在的Kuupuu一樣,同是來自這個很棒的德國厰牌Dekorder。
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[Mus|La Vida]自由自在,平平淡淡,My Style


Artist:Mus
Album:La Vida
Release Date:2007
Label:Green UFOs
Country:Spain
Genre: Rock
Style: Lo-Fi, Shoegazer

Tracklisting:

1
Per Tierres Baxes (2:54)
2
Cantares De Ciegu (4:55)
3
Que Me Oscurece (3:28)
4
Una Ventana Col Iluz (5:18)
5
La Vida (3:28)
6
Animas Del Purgatoriu (3:36)
7
Una Sábana Al Vientu (4:09)
8
Dulce Amor (5:00)
9
Les Palinadores (5:02)
10
Perdieron La Tierra (5:17)
11
Una Estación Xelada (3:44)
12
Añada Pal Primer Mes (4:01)

簡介。。。。。。
The enigmatic Spanish duo of Fran Gayo and Mónica Vacas paints dreamily abstract pictures of muted joy, pleasant weariness, and melancholy resignation using soft-focus watercolor strokes. Their sound drifts and wavers with once-bright colors now on the edge of darkness, like the end of a sunset. It's ever-so-slightly techno influenced, with minimal sampled beats, but keening sampled strings and wordless drifting female vocals are the predominant musical elements, giving their pieces the poignancy of lullabies, albeit slightly disorienting, vaguely millennial lullabies. When there are words, they're sung in Asturian, an exotic language spoken in the northwestern part of Spain, making them sound like the incomprehensible fairytales of a lost culture.

我的碎碎唸。。。。。。評價指數:8.2/10
這是我印象中聼過的第一張西班牙的專輯,很值得紀念一下,並且昨天開始學習西班牙語了。呵呵。真是巧啊。對西班牙音樂一無所知,縂好像還停留在美麗的西班牙女郎那裏。這個西班牙的女聲很好聽,我印象中的西班牙是那種熱情似火的感覺,而Mónica的歌聲很清淡,很綿軟,不緊不慢的唱著,我喜歡這种恬淡的女聲。封面也是相當讚的,很符合我這種看封面聼專輯的人的口味。
去豆瓣上看看。。。。。。

[Rachel Goswell|Waves Are Universal]花叢深處


Artist:Rachel Goswell
Album:Waves Are Universal
Release Date:2004
Label:4AD
Country:UK
Genre: Rock
Style: Folk Rock, Acoustic, Indie Rock

Tracklisting:

1
Warm Summer Sun (3:45)

Accordion - Rachel Goswell
Acoustic Guitar, Guitar [12 String] - Joe Light
Bagpipes [Uilleann] - Jerome Farrell
Bass [Fuzz], Bass [Dumb], Shaker, Guitar [12 String] - David Naughton*
Drums - Ashley Bates
Piano - Bill Drake*
2
Gather Me Up (2:24)

Acoustic Guitar - Rachel Goswell
Cymbal [Ding] - Ashley Bates
Organ [Harmonium] - Bill Drake*
Whistle [Low D] - Jerome Farrell
3
No Substitute (4:36)

Acoustic Guitar, Guitar [Electric], Guitar [12 String] - Joe Light
Bass, Shaker, Tambourine, Handclaps - David Naughton*
Drums - Ashley Bates
Handclaps - Rachel Goswell
Piano - Bill Drake*
4
Deelay (4:13)

Acoustic Guitar, Guitar [Ebo], Guitar [Rhythm], Guitar [Swell] - Joe Light
Bass, Accordion, Shaker, Tambourine, Guitar - David Naughton*
5
Plucked (3:08)

Acoustic Guitar - Joe Light
Arranged By [Strings], Electric Piano [Caved Wurlitzer] - David Naughton*
Cello - Jeremy Perl
Violin - Bronwyn Stride
6
Hope (3:52)

Acoustic Guitar - Joe Light
Bass, Percussion - David Naughton*
Bells [Bangles] - Lynne Jackaman
Organ [Harmonium] - Bill Drake*
7
Coastline (5:43)

Bass, Bongos, Guitar [12 String] - David Naughton*
Drums, Tambourine, Other [Lion's Roar] - Ashley Bates
Guitar [Lead], Guitar [Rhythm] - Rachel Goswell
Guitar [Slide], Effects [Guitar] - Joe Light
8
Shoulder The Blame (3:06)

Bass, Acoustic Guitar, Guitar [Lead], Guitar [Arch Top Slide] - Joe Light
Bells [Letterbox], Percussion [Pot] - David Naughton*
Flute - Melanie Shallenberg
9
Save Yourself (3:59)

Acoustic Guitar [Strum] - Rachel Goswell
Acoustic Guitar, Guitar - Joe Light
Drums - Ashley Bates
Organ [Harmonium] - David Naughton*
Piano - Bill Drake*
10
Thru The Dawn (3:09)

Acoustic Guitar - Rachel Goswell
Shaker, Vibraphone - Dave Naughton
11
Beautiful Feeling (3:27)

Acoustic Guitar, Accordion - Rachel Goswell
Cello - Jeremy Perl
Viola - Reiad Chivah*
Violin - Michael Perl , Richard Lane
12
Sleepless & Tooting (3:01)

Bass, Acoustic Guitar, Guitar, Shaker, Bongos - Joe Light
Drums [Snare] - Rachel Goswell
Guitar [Mini Spanish], Rainstick, Tambourine [Ethnic], Cymbal [Ride] - David Naughton*
Organ [Hammond] - Bill Drake*

簡介。。。。。。
Fans of Slowdive and Mojave 3 have been pining for a Rachel Goswell album for years. Although 4AD billed Waves Are Universal as sounding like something you wouldn't expect from her, it actually sounds almost exactly like you thought it would, provided you've heard a Mojave 3 song at some point during the previous eight years. The British folk elements that have been slowly coming to the fore in the Mojave 3 records are more of a factor here. Otherwise, it's a fusion of British folk and alt-country -- which, to be more forward, means it could pass for a Mojave 3 record made while primary songwriter Neil Halstead was too busy hanging ten. This, for the most part, is a good thing, but the record is rather safe, lacking an adventurousness that is only touched upon and possibly kept under wraps for the sake of not seeming like too much of a departure. Field recordings that are incorporated into the songs are very discreet, and a couple other tunes wouldn't be out of place in commercials plugging some mature teenage drama on the WB. Regardless, Waves Are Universal proves that Goswell can carry a whole record on her own without any trouble. A second solo album -- with more risks taken -- is a necessary thing.(from AMG)

我的碎碎唸。。。。。。評價指數:8.2/10
4AD真是個獨立女聲基地,擁有一大批聲音好聽的美女。Rachel Goswell係slowdive和mojave 3的成員,長得優雅漂亮,聲音柔美,所以我覺得她更適合唱一些輕柔、緩慢,像Gather Me Up、Beautiful Feeling、Thru The Dawn這類的歌曲。加上純淨的吉他演奏,這是一道陽光普照下亮麗美好的風景綫。好似行走花叢中,心情愉悅又平和的感覺。還有Warm Summer Sun、Plucked也是不錯的歌曲。另外,封面真的好漂亮,4AD的片片就是有品質。
去豆瓣上看看。。。。。。
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Tuesday, November 27, 2007

[The Pirate Ship Quintet|The Pirate Ship Quintet]海盜船行進時


Artist:The Pirate Ship Quintet
Album:The Pirate Ship Quintet
Release Date:2007-04-16
Label:Sound Devastation Records
Country:UK
Genre: Rock
Style: Post Rock

Tracklisting:

1
Lost Science (10:58)
2
I Kina Spiser De Hund (8:43)
3
Pirate Ship (11:05)

簡介。。。。。。
The Pirate Ship Quintet is a post-rock band comprised of 8 members, hailing from Bournemouth and Bristol. Apart from standard rock instruments, the band incorporates trumpet and cello into their line-up. TPSQ's debut self-titled EP, mastered by Cult Of Luna's Magnus Lindberg, was released in April 2007.

我的碎碎唸。。。。。。評價指數:7.8/10
以前對英式搖滾很感興趣,那是我非主流音樂的起源,所以現在無論是否對它感興趣,我還是有一種不能言語的情感的。這張蠻好聽的,雖然我現在對這類音樂興趣不大。post-rock,但是氣勢磅礴情緒激昂得讓人感覺更像是post-mental。
去豆瓣上看看。。。。。。

[Misia|Garras Dos Sentidos]fado,fado,悲傷的女王

Artist:Maria Solheim
Album:Garras Dos Sentidos
Release Date:1998-06-16
Label:Erato Disques
Country:Portugal
Genre:Folk
Style:Folk,Fado

Tracklisting:
1. Garras dos Sentidos
2. Dança De Mágoas
3. Estátua Falsa
4. Fado Do Retorno I
5. Nenhuma Estrela Caíu
6. Litania
7. Não Me Chamem Pelo Nome
8. Sete Luas
9. Sou De Vidro
10. Fado Do Retorno II
11. Da Vida Quero Os Sinais

簡介。。。。。。
Mísia, her gaze hot as blood, round as pearls, salt as the sea... Her glowing, velvet, amber-brown eyes share the strange glow of steel plate heated red-hot. All the knowledge of a woman and all the innocence of a little girl; passion and play, laughter and tears...

Mísia Mísia eludes the words of a biography just as she eludes the prison of a musical genre. She stretches far beyond her place of birth, the frontiers of a country... Mísia was born in Porto, took Barcelona by storm and now lives in Lisbon, although she still has her haunts and hairdressers in Paris, Tokyo and Mexico. She has crossed mountains and laid siege to territories, but has above all created a space-time: her world, a weave of sounds buried in the very depths of her body, real-life words, subdued lighting...

我的碎碎唸。。。。。。評價指數:8.3/10
葡萄牙的fado正如法國的chanson,德國的lieder,美國的jazz,阿根廷的tango,巴西的bossa nova,都是最能代表民族性格和地域文化的音樂形式。也許是因爲fado發端於酒館之中,那百轉千回,悲怨纏綿的曲調正像是借酒澆愁的失意人的心聲。

Misia是當今最具代表性的fado藝人,她選用諾貝爾獎得主薩拉馬戈、佩索阿等詩人的作品為歌詞,並融入了多元化的音樂元素,使歷史悠久的fado呈現出嶄新的面貌,1995年的這張Garras Dos Sentidos使Misia紅遍歐洲,並于1998年成功打入美國。
去豆瓣上看看。。。。。。

[Maria Solheim|Will There Be Spring]迎著春風唱歌


Artist:Maria Solheim
Album:Will There Be Spring
Release Date:2007-02-15
Label:Strange Ways Records
Country:Norway
Genre:Pop
Style:Indie Pop

Tracklisting:
  1. moonlight
  2. Wildest Day
  3. Where Do People Go
  4. All My Thoughts
  5. Ocean Needs Water
  6. Different Seasons
  7. Take My Heart Revisited
  8. Burn The Books
  9. Juice
  10. You - Every Morning
  11. Mountain Song

簡介。。。。。。
Maria Solheim is a Norwegian singer-songwriter. She signed her first record deal with the label Kirkelig Kulturverksted in 1999 at the age of 17, and her first album was released two years later. She frequently tours Norway and Germany.

Her discography pr. today:
Will There Be Spring (2006)
Frail (2004)
Behind Closed Doors (2002)
Barefoot (2001)

She is also known for her small feature on the song Paradigms from Extol's album Synergy.

A lot has come to pass since Maria Solheim released her last album, “Frail”, two years ago. Since then, Maria has performed concerts in Great Britain, China, Thailand, Japan, The United States, Austria, Luxembourg and Switzerland, as well as in Scandinavia, including a “royal command” - performance at the christening of princess Ingrid, heiress to the Norwegian throne.

- It was a little…different, indeed, laughs Maria. Usually when I perform, I tend to focus on familiar faces in the audience, and on that occasion the only people I knew where the crown prince and the crown princess. It was quite an experience. A great honour, and a nice memory to look back on later.

Despite her tender age, Maria, who was discovered at fifteen while playing her first ever gig in a small fishing community in the arctic north of Norway, is now established as one of the country’s leading singer/songwriters. So how would she describe the difference between the Maria Solheim of today, and the teenager who made her debut on 2001’s “Barefoot”?

- Experience has given me a sense of self-confidence, which has spurred me to take some chances. By all means, Will There Be Spring is not a “difficult” record, but it pushes the envelope a bit. A little bit more psychedelica, a little bit more madness. The fact that the album was recorded on analog equipment had a big influence on the final result, it has become a simpler and more direct record than it would have been had it been done digitally.

我的碎碎唸。。。。。。評價指數:8.0/10
一個下巴上有溝的挪威美眉,聲音甜美,抱著吉他自彈自唱,專輯介於安靜與歡快之間,歌曲琅琅上口,曲調流暢,偏于流行。
去豆瓣上看看。。。。。。

[Chessie|Overnight]通宵達旦爬雪山


Artist:Chessie
Album:Overnight
Release Date:2001
Label:Plug Research
Country:US
Genre: Electronic
Style: Abstract, Ambient

Tracklisting:

1
Electro-Motive (5:38)
2
Daylight (4:29)
3
K Tower (6:10)
4
Lineside (3:46)
5
Pantograph Up (5:45)

Producer, Written-By, Recorded By - Aaron Mullen , Andrew Ingalls
6
Cross Harbor Interchange (5:58)

Bass [Additional] - Peter Kerlin
7
Northern Maine Junction (6:39)

Producer, Written-By, Recorded By - Ingalls* , Bailes* , Gardner*
8
S To U (2:08)
9
Eyes And Smiles (6:49)

Producer [Additional], Performer [Crystal Glasses] - Davis White

簡介。。。。。。
Begun in 1993 as the project of Stephen Gardner from Arlington, VA, Chessie explores the physical, emotional, and aesthetic aspects of railways through sound. Gardner, who has worked for and traveled extensively on railways, processes his railroad experiences through various electro-acoustic production methods including analog tape techniques, acoustic instruments, and sequencer-less recordings.

Following two full length LP/CD's (Drop Beat's 1997's "Signal Series" and 1999's "Meet") and various singles, Gardner was joined full-time by Ben Bailes, a sound engineer and producer based in New York City, who has been listening intently to the world around him for as long as he can remember. The two started collaborating in 1998 while Gardner was recording "Meet", and came to enjoy working as a duo. In the summer of 2000, Gardner and Bailes began writing and recording "Overnight", a new LP/CD that features 9 compositions dedicated to railways and train travel throughout the night.

我的碎碎唸。。。。。。評價指數:7.1/10
聼了好幾遍,但是什麽感覺也沒有,屬於不喜歡也不討厭的那一類,也許是我聼得不夠仔細。電子,一般的電子,沒有什麽特點,節奏倒是有些high,有幾個track還可以。cover很奇怪,像某某美國的電影公司,藍紫色本應該是很神秘很迷人的配色,與這座山結合在一起是什麽意思呢,我沒有搞懂。不過整張專輯聼下來還真有點累,有些爬山的感覺。
去豆瓣上看看。。。。。。
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[Painting Petals on Planet Ghost|Painting Petals on Planet Ghost]亞平寧半島上的玉姬物語


Artist:Painting Petals on Planet Ghost
Album:Painting Petals on Planet Ghost
Release Date:2007
Label:Time-Lag Records
Country:Italy
Genre: Electronic
Style: Folk,Acoustic,Experimental,Ambient

Tracklisting:

A1 Sakura No Hana No Oto Ga Kikoeru (3:47)
A2 Haru No Hi Ni (6:32)
A3 Harusame No Juru Wa Namida Ka (5:00)
B1 Haru Wa Akebono (7:37)
B2 Sakurabana (11:03)

簡介。。。。。。
Painting Petals on Planet Ghost is a new project featuring space feline brothers, Maurizio & Roberto Opalio, and their longtime partner-in-crime, Ramona Ponzini. Ponzini also appeared on a duo album with Roberto last year, Praxinoscope. With that in mind, don't expect this to sound like My Cat is an Alien with an extra collaborator. No, Painting Petals on Planet Ghost traverses new ground, staying away from the extended splendid cosmic explorations that MCIAA have become known for.

Make no mistake about it, Ponzini is the shining star here. Her tentative, beautiful voice is like a beacon leading the brothers, like moths to a lamp, toward their destiny. Unless you're fluent in Japanese, you're not likely to have any idea what Ponzini is singing. As she recites various Japanese poems, the Opalio brothers paint an aural backdrop of loneliness and desolation. These songs are like the last will and testament of someone stranded in the middle of nowhere. This is their message in a bottle.

Most haunting is "Haru No Hi Ni." The Opalio's solemn acoustic guitar plucks reek of desperation. Hearing it over and over again, I feel like someone is ripping my heart from my chest. Ponzini's voice floats above the surface, doing its best to stay on top of the wreckage. Each note is like a tiny dagger filled with the worst kind of poison. Simplicity is the best weapon here, and the trio absolutely nails it. This is one of the year's best songs, hands down.

Elsewhere on this record, the backing instrumentation is even more minimal, but still works. The opener, "Sakura No Hana No Oto Ga Kikoeru," features little more than the gentle clanging of chromatic percussion underneath Ponzini's incantations. And at the beginning of the closing piece, "Sakurabana," the trio returns to this format. As it moves forward, the brothers add melancholy drones with (what I think is) an antique accordian. The dichotomy of this and the percussion at the beginning only adds to the longing in the piece. It settles itself right into your bones.

Painting Petals on Planet Ghost shows the Opalio brothers in top form. The addition of Ramona Ponzini adds an entirely new dimension to their sonic attack. The subtleties of this record are what make it so great. Well, that and the fact that Ponzini's vocals are completely mesmerizing. Add to that the typically beautiful Time-Lag packaging, and you've got something essential on your hands. I can only hope that this project will be back with more sometime down the road. Painting Petals on Planet Ghost debut is absolute magic. -- Brad Rose

Debut recording from Italy's Opalio brothers (My Cat Is An Alien) and Ramona Ponzini. An esoteric and mesmerizing trip through space, minimalism and emotion. Each track recorded at a different mystical location in the western Alps, and centered around Ramona's beautiful vocals, all of which are sung in traditional Japanese. Maurizio & Roberto add sparse accompaniment by means of toy piano, alien keyboard tones, antique accordion, percussion, tape effects, and some particularly evocative acoustic guitar.

我的碎碎唸。。。。。。評價指數:8.0/10
這張專輯太地下了吧。我連找cover都費了好大勁,資料discogs上也沒有,Time-Lag Records的網站做得也很不怎麽樣。四處搜索才找到這麽一點。呵呵,世界性越來越強,意大利人都會做日式的音樂了,而且很有那麽幾份樣子。安靜,用西洋樂器營造的安靜。抑揚頓挫,我認爲的日本音樂的精神。我不確定Ramona Ponzini是否是日本人,但是唱得還是很有味道的。

[Four Tet|Thirtysixtwentyfive]天才少年與數字節奏


Artist:Four Tet
Album:Thirtysixtwentyfive
Release Date:1998-07-27
Label:Output
Country:UK
Genre: Electronic
Style: Future Jazz, Downtempo

Tracklisting:

01
Thirtysixtwentyfive (36:25)

簡介。。。。。。
Four Tet is the name used by Kieran Hebden (born 1980 in Putney, London, UK) for his experimental electronic music-oriented solo efforts, to differentiate from his work with post-rock band Fridge.

Hebden's solo work typically utilises samples lifted from various sources including hip-hop, electronica, techno, jazz, and folk mixed with his own guitar playing. Four Tet shares some stylistic similarities with other musicians, such as Prefuse 73, who use computer editing techniques that give the music a staccato, cut-up feel. Hebden's music is notable for its rich, organic sounds and harmonious melodies as well as for eschewing the traditional pop-song format in favour of a more abstract approach.

Kieran Hebden began releasing material as Four Tet in 1998 with the 36 minute and 25 second single "Thirtysixtwentyfive" on Trevor Jackson's Output Recordings label. Later that year, he released a second single, the jazz-influenced "Misnomer". 1999's Dialogue, again on Output, was Four Tet's first full-length album release and fused hip-hop drum lines with dissonant jazz samples. This was followed by the double A-side single "Glasshead"/"Calamine", which was to be Four Tet's last release on Output.

In late 1999, Warp Records released a tenth-anniversary compilation of remixes of Warp tracks; Hebden contributed a remix of "Cliffs", the opening track of Aphex Twin's Selected Ambient Works Volume II. This relatively high profile exposure attracted a lot of new interest in Four Tet from fans of electronica and IDM, genres in which the Warp brand had a preeminent status.

In 2001, Four Tet's second album Pause was released on Domino and found Hebden using more folk and electronic samples, which was quickly dubbed "folktronica" by the media & press in an attempt to label the style (often also applied to artists such as ISAN, Gravenhurst and some of Canabrism's later work). The acoustic guitar track "Everything Is Alright" is the theme music for the National Public Radio talk show On Point, produced at WBUR in Boston, Massachusetts; it was also featured in a US Nike commercial in 2001-2002 and in the Sony Bravia commercial in 2005.

Rounds was released in May 2003. It was Hebden's most ambitious album to date, incorporating diverse samples such as the mandolin on "Spirit Fingers", and even a rubber duck on the closing track "Slow Jam". Three singles were released from the album: "She Moves She", "As Serious as Your Life", and "My Angel Rocks Back and Forth". This last single was released as an EP featuring remixes by electronica duo Icarus and Isambard Khroustaliov along with additional Four Tet tracks "I've Got Viking in Me" and "All the Chimers". An accompanying DVD featured all of Four Tet's videos to date.

At the beginning of 2003, Four Tet opened for Radiohead on their European tour. A remix of the song Scatterbrain from Radiohead's latest album Hail to the Thief was included on their 2004 EP COM LAG (2plus2isfive).

A live album named Live in Copenhagen 30th March 2004 was released in April 2004 as a limited edition, available only through the Domino Records website.

In March and April of 2005, Four Tet performed two shows of improvisational music, in collaboration with jazz drummer Steve Reid, in Paris and London. He also appears on Steve Reid Ensemble 2005 album Spirit Walk. This collaboration was extended into a series of international tours, and the release of two albums, The Exchange Session Vol. 1 and The Exchange Session Vol. 2 over the course of 2005 and 2006.

His fourth studio album Everything Ecstatic was released on Domino on 23 May 2005. The video for the lead single, "Smile Around the Face", features actor Mark Heap. The album brought with it another shift in style, leaving behind the breezy "folktronica" of Pause and Rounds for a darker, more complex sound. On 7 November 2005, Domino has released a DVD version of Everything Ecstatic featuring video clips for each track of the album plus a CD with new material.

Hebden has also remixed, under the Four Tet name, tracks by a wide range of artists including Madvillain, Bloc Party, Super Furry Animals, Beth Orton, Badly Drawn Boy, The Notwist, Boom Bip, Kings of Convenience, Explosions in the Sky, Radiohead, and Doves.

我的碎碎唸。。。。。。評價指數:8.4/10
我不得不承認聼了這張專輯后,我喜歡上了這個英國男生。同為80后,他卻取得了如此諸多的成就,發行了很多很多張唱片。我很佩服他,佩服他的樂感十足。這張發行于98年的第一張solo,這張唱片或者說這個36分鐘的track,顯示出了他驚人的才華。英倫迷幻,充滿著英國人的實驗節奏,而且融入許多Jazz元素,以及許多的聲音採樣,這張貌似很老練的唱片,令人有點不敢相信地居然是出自一個18嵗男生之手。
去豆瓣上看看。。。。。。

Monday, November 26, 2007

[Paavoharju|Yhä Hämärää]赫爾辛基夜鶯傳説


Artist:Paavoharju
Album:Yhä Hämärää
Release Date:2005-07
Label:Fonal Records
Country:Finland
Genre: Electronic
Style: Experimental, Ambient

Tracklisting:

1
Ikuisuuden Maailma (5:02)
2
Valo Tihkuu Kaiken Läpi (4:01)
3
Kuu Lohduttaa Huolestuneita (3:49)
4
Syvyys (2:51)
5
Puhuri (3:13)
6
Ilmaa Virtaa (2:48)
7
Aamuauringon Tuntuinen (3:57)
8
Vitivalkoinen (1:39)
9
Kuljin Kauas (4:02)
10
On Yhä Hämärää (3:18)
11
Musta Katu (3:55)

簡介。。。。。。
And so it finally arrives on the shores of dear old Blighty. After weeks of whispers and nudges from the most highly esteemed of sources, one of 2005s most talked about albums is with us, and oh goodness has it been worth the wait! Undoubtedly my favourite release of last year (by a long way I might add) this album really does have something for everyone. Created by a band of born-again Christians in rural Finland, sung in Finnish and with a title that translated means ‘Continuously Dark’ (a not-so-subtle reminder of the Finnish seasonal conditions), one may feel daunted by the challenge of such a record. But oh how wrong these preconceptions can be, when hidden inside the beautifully odd packaging is an album of such perfect outsider pop it’s hard to imagine how it arrived on this planet. Flecked with traces of Bollywood soundtracks, folk, polka, 8-bit chiptunes and that all important Finnish psychedelia - this is a near impossible blend of styles which is pulled off in such a way that makes it purely irresistible to the ear. This is the album Ariel Pink wished he could produce, the album that sent Brian Wilson over the edge, the promised collision of worldwide styles that keeps evading every artist as they suddenly qualify for arts funding. It’s easy to point the finger of influence at Paavoharju but impossible to name peers, they are a band which truly stands alone. Maybe it’s due to their location that they have managed to soak up 50 years of pop music and come out with something that sounds so utterly alien. Yet they have been pigeonholed in the burgeoning Finnish free-folk/psych scene and still sound nothing like Islaja, Es, Lau Nau, Kemialliset Ystävät et al. Whatever the cause this is a magical and marvellous achievement, a record which will stay with us for years to come regardless of fad or fashion. As an introduction to the unmissable Fonal catalogue which will be appearing on Boomkat over the coming weeks this just couldn’t be better; so watch out, there’s a hell of a lot more where this came from. Essential purchase. (from boomkat)

我的碎碎唸。。。。。。評價指數:8.9/10
我喜歡芬蘭民謠,喜歡Paavoharju,喜歡Fonal。熟悉我的人一定熟悉這張專輯的封面,因爲我的很多網絡頭像都用的是這個小姑娘。個人覺得她長得很像自己:)Fonal的唱片幾乎每一張一開始就在視覺上給聽者以美的享受,會產生一種強烈的聆聽欲望。當然,音樂也是絕對夠震撼人心的,真是好聽,好聽得令人如痴如醉,令人無所適從,好像步入童話中仙境般的感覺。喜歡,嚴重推薦~

這張專輯是Paavoharju在Fonal發行的唯一一張專輯,很有水準。後來又發行了一張EP,名叫Tuote-akatemia / Unien Savonlinna EP,有一部分歌曲實際上是來自于Yhä Hämärää。
去豆瓣上看看。。。。。。
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Sunday, November 25, 2007

[Tara Fuki|Auris]美好的旅程


Artist:Tara Fuki
Album:Auris
Release Date:2007-05-22
Label:Indies Records
Country:Czech
Genre: Folk
Style: Folk,Classical


Track:
1. Lej,Lej,Lej 03:48
2. Ty i ja 03:11
3. Niezawsze 05:16
4. Slady 04:14
5. Sloneczko 04:13
6. Czerwone jabluszko 05:26
7. Majli 04:26
8. Mily moj 02:29
9. Piano 01:21
10. Klucz 05:00
11. Biale Fale 05:44


簡介。。。。。。
Sound magicians with violoncellos, Tara Fuki duo, recorded the third album and named it "Auris" (from Latin, meaning an "ear", but also to hear and listen carefully). Their previous albums met with great success both domestic and international and brought Tara Fuki to the top of the Czech alternative scene. The band even gained two awards of the Academy of Popular Music "Andel 2001" for the debut album Piosenki do snu.

This time, Tara Fuki with the contribution of invited guests offer their listeners an exceptional music tidbit. Contrary to the previous recordings, Auris is emotionally richer and deeper, livelier and with sound that is unique on the Czech musical scene. In ten compositions, the listener is captured by the lightness with which Tara Fuki incorporate their cellos into the gurgling potion of tones let out by mysterious instruments such as Swiss hangs, Indian tabla, Pakistani kanjira and with which it engagingly caresses instruments almost classical (piano, guitar and bass clarinet). The enormous power of artistic expression of Tara Fuki dwells in their utterly natural vocal spontaneity and perfect coordination based on mutual complementation. Dorota's mighty and velvet dark alto underlined by Andrea's frail soprano gives origin to unique hues and nuances. Polish lyrics (mainly written by D. Barova) inspired by personal relationships and intimate conversations between two people, present a powerful testimony. With the help of precisely cut crystal clear music they enable a multiple view of dark recesses of the kaleidoscope of the human soul. The overall sound of Tara Fuki has been extended with new instruments and also with a whole range of means of expression, and thus we are accompanied through the music waterfall by bewitching incantation whisper and lyrical jazz ballad to earthy ecstatic trance, in order to eventually hear two naked voices highlighted.

The songs originated gradually on travels, during breaks between concerts, and they were most intensely worked on during the heat of last summer; they were recorded before the end of the year in the Prague studio of Petr Pinos. The producer and sound director is Ales Hyvnar (Al-Yaman), who discreetly wrapped the remarkable music world of Tara Fuki in the spices of a very contemporary dimension. The preparation of the new album took longer this time that it was with the previous ones due to the fact that Andrea Konstankiewicz has moved to France for good.
Andrea answers the question whether Tara Fuki is happier to give concerts in this country or abroad: "The most beautiful concerts are in places where we manage to create a special atmosphere. When the air suddenly thickens and time stops in one magic moment: this happens when the audiences start to breathe with us or they suddenly hold their breath."

The song "Lej, lej" has been provided with a video clip, recorded by Marta Svobodova, the front woman of Budoar Stare Damy band.(Indies records 2007)

我的碎碎唸。。。。。。評價指數:9.1/10
"The most beautiful concerts are in places where we manage to create a special atmosphere. When the air suddenly thickens and time stops in one magic moment: this happens when the audiences start to breathe with us or they suddenly hold their breath."

這是Andrea Konstankiewicz被問及更喜歡在國内還是國外舉行音樂會時所做出的回答,因爲Andrea已經移居法國。這也就使兩個演奏大提琴的聲音魔術師 爲什麽準備了四年之久,在今年的五月才為我們帶來她們的第三張專輯Auris的主要原因。Auris是拉丁文“耳朵”的意思,也有細心聆聽之意。她們之前 的兩張專輯不僅使她們在國内和國際上都獲得巨大的成功,而且使她們成爲捷克另類民謠中的No.1。

聼 過前兩張專輯之後,自然對這張專輯能帶來多少新鮮感會非常好奇。這次,Tara Fuki邀請到了一些藝術傢一起為我們這些聽衆奉上了一場不可思議的音樂盛宴。相比較前兩張有些深沉與肅穆的專輯,此次Auris用大提琴營造了更加豐 富、更加愉悅,也更加活潑的情緒。但無論哪种情感,Tara Fuki的音樂無疑在捷克音樂界都是獨樹一幟的。

這張專輯中的歌曲陸續地創 作于旅行之中,音樂會之間的小憩中等等,最密集的工作是在去年夏天進行的,年底前在Petr Pinos布拉格的音樂工作室錄製完成。捷克著名的音樂人Ales Hyvnar擔當製作人和編導,為她們非同尋常的音樂做了嚴謹的包裝、精心的打造。歌詞是用波蘭語寫成的(大部分是出自D. Barova),靈感來自于兩人之間的關係與親密的交談,似乎代表著一種亙古不變的誓言。在這種水晶一般純淨的音樂映襯下,多角度地展現了人類靈魂這個萬 花筒中的幽深之処。

在這張CD中,令我印象最爲深刻的就是,大量的使用了鋼琴,這在前兩張專輯中是聼不到的。另外,她們還使用了許多其他 的古典元素,像古典吉他、單簧管等等。更令我們大吃一驚的是,Tara Fuki不僅將她們倆把大提琴的合奏融入這些曾經幾乎不使用的古典元素之中,為我展現了她們深厚的古典音樂功底和清新優雅的女性氣質,還加入許許多多惹人 喜愛我們不常能聽到的神秘樂器,比如説,瑞士的Hang(我不知道中文應該翻譯成什麽。是一種鋼制的鼓,用手指來敲擊,比一般的steel drum聲音更加柔和一些)、印度的塔佈拉手鼓,還有巴基斯坦的Kanjira(我 也不知道中文應該如何翻譯,堪吉拉嗎?是巴基斯坦一帶家庭中經常用的小手鼓,是印度鼓中最難演奏的一種,用右手的手掌和手指演奏,左手的指尖按壓外邊緣附 近進行輔助調節)等等一些很稀奇的民族樂器。大概就如同她們的唱片封面一樣,Tara Fuki在逐漸變得更豐富更成熟吧。


Swiss Hang & Pakistani Kanjira
在Tara Fuki的音樂中不能不提到的就是她們完美的和聲,因爲她們的音樂中最強有力的藝術表達就是在她們這種自然而然的絕對純粹的和聲之中。這種完美的和諧基於 她們的相互補充。Dorota那種有些大氣磅礴又有些像深色的天鵝絨一樣的中音,被Andrea那種有點清爽又有點脆弱的高音襯托,形成了這種獨一無二的 配色。

喜歡Ty i ja那種帶著原始神秘感的氣勢如虹,激情的演唱以塔佈拉手鼓伴奏,參雜著好似土著人的聲音合著節拍,令人情緒激動。Niezawsze是鋼琴和大提琴這對 黃金組合的精彩呈現。也喜歡Slady的抑揚頓挫帶來的空間感。Sloneczko是一首激蕩起伏的東歐民謠,似乎又帶有些阿拉伯音樂的味道,節奏感十 足,各種樂器繁複交錯,很喜歡。Czerwone jabluszko又有點非洲音樂節奏帶來的現代感。Majli好似在我們左右耳邊講述了一個神秘的傳説,層次分明的編曲使這些豐富的層次產生了無限廣闊 的空間效應。在Mily moj中我們能夠聽到兩人純粹意義上的完美和聲,原因就是沒有伴奏,絕對的清唱。緊接著的track是專輯中的一個小插曲,完全的純淨深情的鋼琴,似乎在 彌補上一個清唱唱段,在專輯中顯得很特別。插曲過後的兩個track為我們演繹了不一樣的爵士風情,永遠好像帶著憂傷的爵士樂以這種想象不到的方式將 Tara Fuki從之前跳動歡愉的情緒中逐漸恢復了往日的平靜與内斂,結束了這四年之後的相遇。

聼Auris 的感覺就像一場美好的旅程,從開篇有些西班牙風情的Lej,Lej,Lej開始,穿過那令人心醉的咒語般的低吟和抒情的爵士歌謠匯聚而成的音樂清流,順勢 而下歡騰愉悅像湍急的瀑布一樣一瀉千里,之後展現給我們的是一片豁然開朗的淨空淨土。如同翻越了千山萬水,最終為的只是聆聽她們這渾然天成的聲音,或者僅 僅是那顆赤誠的心。

The song "Lej,Lej,Lej" has been provided with a video clip, recorded by Marta Svobodova, the front woman of Budoar Stare Damy band. 嚴重推薦一下,沒聼過的朋友可以通過這一曲,來感受一下她們音樂的魅力。
去豆瓣上看看。。。。。。

[Tara Fuki|Kapka]生命交響詩


Artist:Tara Fuki
Album:Kapka
Release Date:2003-11-11
Label:Indies Records
Country:Czech
Genre: Folk
Style: Folk,Classical

Tracklisting:
1.Cichy Placz
2.Kapka
3.Poust
4.Modlitba
5.Daj mi znac
6.Senna
7.Oci
8.V dymu
9.Okamzik
10.Na lace

簡介。。。。。。
Both of these two energetic violoncellists come from Northern Moravia, where they were passing by each other while studying at the Ostrava Conservatory. They met one year ago in Brno during their musicology studies at the Philosophical Faculty. Andrea (born in 1972) was at that time featured in the band BOO and in the international music-dance formation Rale, while Dorota (born in 1975) was playing with the Brno-based alternative band Lippany. They were both willing to play in an acoustic structure ; moreover it appeared soon that Dorota had a beautiful voice. In their music and texts, they get inspired by the poetry of the night and by the dreams, which they consider as extractions from the sub-conscious. "It is because what happens to us during the night is totally different and sometimes even truer than what we perceive in the day," says Andrea. Just like dreams, their music is able to gently caress and soothe, but also to hurt with its brutal urgency.

Their texts are written in Polish, which, as they unanimously agree, they have flowing in their veins. Dorota's mother is Polish and the great-great-great-grandmother of Andrea was a Polish countess. Moreover, "the Polish language is far more fit for singing because it has softer consonants and vowels than the Czech language. I think that in that language my voice even has another coloration" says Dorota.

Their own musical style is so original that it escapes all possible classification, but it rather surely pines for communication with the receptive and open listener who is not afraid to dream.

After a first successful tour in the year 2000 in the Czech Republic, France and Germany, TARA FUKI also plans to visit Poland. (from Amazon)

我的碎碎唸。。。。。。評價指數:9.0/10
Tara Fuki的第二張專輯,也是幾個月前聼過的,直到今天心血來潮才來寫一寫。乾脆一鼓作氣把她們的三張專輯都寫了,因爲我確實非常喜歡她們的音樂。在我寫的第一篇[Tara Fuki|Piosenki Do Snu]純粹之美難以言傳裏已經對她們做了一些簡單的介紹了,所以不再贅餘,直接說她們的音樂了。

我想如果一個藝術傢經歷了他的前一個優秀作品從問世到成功,壓力一定是特別大的。因爲人們都對他們抱以巨大的希望,等待著他們下一個優秀作品的誕生。而這下一個優秀作品是不可以重復過去的,不可以沒有創新的。

但是這張CD中Tara Fuki讓我們親眼目睹了她們的實力。在保持原本就已經相當完美的大提琴組合以及Andrea Konstankiewicz & Dorota Blahutová的美妙和聲,又加入了一些新的元素,那就是Mario Bussi的作品的採樣。此外以捷克語、波蘭語以及法語來演繹這些佳作,這些使得這張專輯充滿質感,你可以盡興地從中體會到東歐民謠的精髓,以及她們音樂 中親切之美。

開篇一曲Cichy Placz足夠令我們感受到命運的力量,繼而跟隨Tara Fuki進入了這似乎充滿苦難與掙扎的生命之旅。尤其是結尾的很長的一段大提琴華彩,從如同精疲力盡的喘息緩慢而微弱,然後漸漸變快變強,隨之層次也越來 越豐富,逐漸加入各種聲音的採樣與合成,凝聚成了暴風驟雨大作時排山倒海的氣勢與力量。之後的Kapka以一個用擬聲詞演唱的和聲唱段開篇,異常地和諧與 特別,典型的東歐民謠曲調,迅速有力,似乎在宣告女性的一種強勢,頗有點女權主義味道。Oci是一首非常棒的作品,前半部的女聲輕唱帶著哀傷又優雅的氣 質,但是到了后半部像情緒爆發一樣,似乎是對命運的抗爭。在激情的大提琴演奏中融入了許多現代音樂元素,比如使用了以前從不用的架子鼓,這絕對是對自我的 一種突破。這種反抗精神在Okamzik中得以延續,這是專輯中另一首用了同樣的擬聲詞唱法演唱的歌曲,歌名大概是“瞬間”的意思。充滿無限力量的大提琴 的雙重奏作爲開篇,氣氛緊張,好似在黑暗中摸索,自強不息。結尾処的一聲雞鳴令人印象深刻,似乎在告訴我們黑夜已經過去,曙光就在眼前。於是,緊接著的也 是最後一曲的Na lace是整張專輯中最輕鬆的track,以輕快開始,平和為主題,高潮部分充滿歡愉和自由的氣氛。尤其是結尾的歡呼聲,似乎在向世人宣告這場命運的洗禮 以獲得釋放的勝利而告終,這是多麽大快人心、令人欣慰的結局啊。

V dymu是這張專輯中我唯一能夠找到Video的一首歌,非常喜歡的一個作品。在這個作品中你能看到兩個女生僅僅依靠撥動兩把大提琴的琴絃,就能夠營造出如此寧靜並且深遠的意境。
http://www.viddler.com/explore/Ms_Valerie/videos/9/

去豆瓣上看看。。。。。。

[Tara Fuki|Piosenki Do Snu]純粹之美難以言傳

Artist:Tara Fuki
Album:Piosenki Do Snu
Release Date:2001-08-26
Label:Indies Records
Country:Czech
Genre: Folk
Style: Folk,Classical,


Tracklisting:

1 Czekam 5:32
2 Piosenka 2:48
3 Noce Zle 3:29
4 Tango 2:52
5 Pada 3:45
6 Sen 4:30
7 Cien 2:41
8 Widze, Widze 3:24
9 Spalilo Sie 3:52
10 Kolysanka 9:54

簡介。。。。。。
Tara Fuki is a duo of classically-trained female cellist/vocalists - Andrea Konstankiewicz (Polish) and Dorota Blahutova (Czech). Their music defies a single genre, infusing jazz and classical elements with village-folk and gypsy themes, "world" and electronic beats and beautifully delivered lyrics in Polish, Czech and other languages.

我的碎碎唸。。。。。。
評價指數:9.0/10
Tara Fuki的這張碟是兩個月前聼的,今天很偶然又懷念起這兩個充滿優雅藝術氣質的女生,決定不再像以前那樣發懶,而是對於我迷戀的留下點文字。

Tara Fuki是這兩個受正規古典音樂教育的女生組成的二重唱組合,兩個人使用的都是大提琴。一個名叫Andrea Konstankiewicz(左),生于1972年的波蘭;另一個叫作Dorota Barová,出生于1975年的捷克。兩個人的相遇相知還有幾分帶有歷史原因的傳奇色彩。她們2000年的時候在摩拉維亞相遇,當時兩人同時在厄 斯特拉法(Ostrava)音樂學校學習。那時Andrea在一個叫做BOO的樂隊裏演唱,還在Rale裏演唱過(我有一張Rale的專輯,至今未聼); Dorota在一個名為Lippany的捷克國家樂隊。兩人有許多共同之処,這使她們走到了一起。而且她們兩人都具有波蘭血統,經過了20世紀歐洲的諸多 變化和共產主義從統治到衰亡的歷史變遷,波蘭和捷克這些東歐國家的領土閒關係頗爲複雜,兩人緣分般的走到一起實屬不易。

Piosenki Do Snu是她們的首張專輯。共產政權的倒臺對捷克和波蘭的音樂界絕對是一個巨大的衝擊,曾經被政府嚴格控制的音樂厰牌也隨之潰散,取而代之的是一些私有的唱 片公司。Piosenki Do Snu這張專輯就是在2001年與Brno的一家獨立的厰牌Indies Records簽約后產生的。

在 這樣的一張封面簡單的專輯中,你會深深感受到Tara Fuki深厚的音樂功底。只有兩個二人的歌聲以及手中的兩把大提琴,不使用架子鼓、guitar與bass,甚至不用鋼琴。看似極爲簡單,你甚至會認爲她 們一定是那種對於古典音樂墨守成規循規蹈矩的學院派風格,那麽你大錯特錯了。兩把大提琴加上她們的和聲產生了一種動聽得令人驚異的非主流聲音,而且兩個姑 娘似乎對於樂器繁雜卻風格單一的音樂極爲藐視,因爲種種跡象表明她們要最大的限度地將多種多樣的音樂元素融入她們的音樂。從Jazz到歐洲古典,Tara Fuki以東歐民謠和吉普賽音樂作爲她們的主題,用受啓發于Joni Mitchell的演唱方式,以波蘭語和捷克語傳遞出最美麗的歌詞。在這裡,古典主義的世界與現代主義的電子能夠和諧地出場,這確實是她們的厲害之処。

這 張專輯全部是用波蘭語演唱,甚至是在捷克的現場演出也執著不變。据Dorota說,由於波蘭語的元音和輔音比捷克語更柔和,所以她更願意用波蘭語演唱。大 多的歌詞是對於夢想與現實之間的探索。雖然什麽也聼不懂,但我相信任何人聼之後都會感受到一個字——美。就是這樣簡簡單單的美,我想就足夠了。就像我們讀 李商隱的詩《錦瑟》一樣,無需道出具體是個什麽意思、爲什麽美,依賴于語言在此時必然是徒勞。所以不做單首曲子的推薦,在我的心中每一首都力薦。
去豆瓣上看看。。。。。。

[Smog|Wild Love]時代聲音,義氣方遒

Artist:Smog
Album:Wild Love
Release Date:1995
Label:Drag City
Country:US
Genre: Rock
Style: Alternative Rock, Folk Rock, Lo-Fi, Indie Rock

Tracklisting:

1
Bathysphere
2
Wild Love
3
Sweet Smog Children
4
Bathroom Floor
5
The Emperor
6
Limited Capacity
7
It's Rough
8
Sleepy Joe

Guitar - Cynthia Dall
9
The Candle

Piano [Chamberlin] - Ian O'Hey
10
Be Hit

Drums - Jason Dezember
11
Prince Alone In The Studio

Guitar - Cynthia Dall
Piano [Chamberlin] - Ian O'Hey
Vocals - Cynthia Dall
12
Goldfish Bowl

簡介。。。。。。
Building on Julius Caesar's artful songcraft, Wild Love expands Bill Callahan's lyrical and musical horizons, balancing roughness and polish in just the right amounts. Recorded in a proper studio with Drag City's favorite producer, Rian Murphy, the album benefits from a wider musical palette; instead of Julius Caesar's lo-fi patchwork, the sound is focused into a hypnotic blend of chamber music and indie rock. Keyboards, chamberlin, and cello add a theatrical flair to Wild Love's dark, witty portraits of domestic frustration, especially the opening and closing songs, "Bathysphere" and "Goldfish Bowl." The arrangements are key; sometimes they reflect the moody, detailed lyrics. On the frail, flickering ballad "The Candle," Callahan sings, "I'm gathering these splinters to make a raft someday," accompanied by delicate, feeble guitars and keyboards, while "Be Hit"'s awkward drumming and out-of-tune strumming mirror its ugly words: "Every girl I've ever loved has wanted to be hit/And every girl I've ever loved has left me because I wouldn't do it." At other times, the dense orchestrations are ironic; "Sleepy Joe" and "Prince Alone in the Studio" are emotionally detached. As usual, the lyrics are sad, funny, and often cut to the quick. Couplets like "The Candle"'s "I was on her body/He was on her mind/I caressed her/He possessed her" provoke a reaction somewhere between a wince and a grin. On a purely musical level, the album is of Smog's most remarkable achievements, combining studio effects and low-budget innovation. The snare drums and chamberlins on "The Emperor" sound like fireworks over a parade, while the chiming guitars on "It's Rough" add a touch of empathy. A finely wrought, riveting album.(from AMG)

Bill Callahan, born in Silver Spring, Maryland. Callahan pioneered the lo-fi genre of underground rock, with homemade tape-albums recorded on four track tape recorders. Later he signed a record contract with the label drag city.

Callahan started out as a highly experimental artist, utilizing sub-standard instruments and recording equipment. His reason for using the lo-fi approach was not so much an aesthetic choice, rather it came from his lack of knowledge of recording studios, and fear of giving up control to professional engineers.

His later work saw him overcoming his fear of studios and producers, and in this period he recorded two albums with the influential producer Jim O'Rourke and musicians from the circles around drag city, as well as collaborating with the similar-minded Neil Hagerty.

His songs are based on simple, repetitive structures, strikingly characterized by his baritone vocal. His lyrics are often centered around themes of spiritual searching and the complexity of emotions, with the use of subtlety and dark irony in the classic sense. There is also a broad swathe of joy throughout Callahan's work (and a singular obsession with horses that he shares with Will Oldham). He is a keen storyteller using simple words to project large and deeply echoing tales.

Callahan's love life has been documented with vigor in numerous hipster publications, including his romantic relationship with Chan Marshall (Cat Power), who allegedly penned "To Be a Good Woman" in tribute to Callahan while referencing his song "To Be Of Use." It has recently been rumored that Callahan is now involved with drag city labelmate Joanna Newsom. None of this infomation, however, is important to appreciate his music.

Callahan is widely seen as one of the important figures of American rock in the '90s. He currently resides in Austin, TX.

On his 2007 album "Woke on a Whaleheart" he dropped the name Smog and used his real name, Bill Callahan.

我的碎碎唸。。。。。。評價指數:7.7/10
1995年的老專輯了,真是年代久遠啊,那時我是個初中生。所以這張專輯感覺好懷舊哦。Bill Callahan的聲音很有磁性也Lo-fi,不知道爲什麽,我想起了Chris Matin或者Thorm York,可能一個時代有一個時代的共同點吧。我對所謂搖滾的歷史並不了解,只願意沉浸在自己的喜好當中,可能會像生活在套子裏一樣有些狹隘。如果有時閒的話,我應該在這方面補一補課了。這張專輯在那個時代評價很高,應該是非常受歡迎的。現在聼上去也還不錯,1995年的音樂做成這樣已經相當不容易了。
去豆瓣上看看。。。。。。


Saturday, November 24, 2007

[Stina Nordenstam|The World Is Saved]目空一切,拯救世界


Artist:Stina Nordenstam
Album:The World Is Saved
Release Date:2004-10-11
Label:V2 Records, Inc.
Country:Sweden
Genre: Electronic, Jazz
Style: Leftfield, Future Jazz

Tracklisting:

1
Get On With Your Life (3:28)
2
Winter Killing (4:02)
3
On Falling (4:10)
4
Parliament Square (4:36)
5
I'm Staring Out The World (3:38)
6
From Cayman Islands With Love (4:00)
7
The Morning Belongs To The Night (3:32)
8
125 (3:40)
9
Butterfly (4:23)
10
The World Is Saved (2:53)
11
The End Of A Love Affair (3:37)

簡介。。。。。。
More than one fan called The World Is Saved a perfect winter album upon its release, and that's a good assessment even above and beyond its striking cover photo, showing Stina Nordenstam standing in snow at night. Nordenstam's move over the years from polite, jazz-inflected pop to something far more unusual and haunting -- even while retaining many of the same musical elements she started with -- has been its own underappreciated tale, and The World Is Saved is a striking new chapter, as befits an album that begins with the line "They put a needle once in my spine." Nordenstam's ear for her own vocal gifts might well be the key to her work, using everything from close microphone singing to distanced, echoed sighing, sometimes in combination with each other. But most often it is all about the voice as it stands, taking the central role in a song while never dominating it; the many musicians helping her often create some tight grooves and performances (the slink of "On Falling" alone shows that this album is as much for dancing as contemplation, while "From Cayman Islands with Love" singlehandedly makes the idea of trip-hop interesting again) but always with a careful and calm air. The steady guitar part that opens "125" is a prime example on its own, it's at once serene and stark, then suddenly silenced by Nordenstam's singing. The textural combinations that result can be a delight, from the mix between Hammond organ and a slipping, sliding electronic cascade on "Winter Killing" to the nervous, just off-kilter-enough string arrangements on "I'm Staring Out the World" (an absolutely wonderful song title) and "The Morning Belongs to the Night." The American edition adds some tracks from contemporary singles to the end of the disc.(from AMG)

Stina Nordenstam born Kristina Marianne Nordenstam March 4, 1969, Stockholm, Sweden, is a Swedish singer-songwriter.

Nordenstam's distinctive, breathy voice lead to early comparisons with artists such as Rickie Lee Jones and Björk. Her early albums, Memories of a Colour and And She Closed Her Eyes were significantly jazz-influenced, with only subtle elements of alternative rock. With 1997's Dynamite she started down a darker, more experimental path - most of the album was filled with processed, distorted electric guitars and unusual beats, but careful listening revealed her unique songwriting abilities. An album of covers, People are Strange, followed before she returned in 2001 with This is Stina Nordenstam, an album with shorter songs and a more pop-like (but still highly distinctive) feel; ex-Suede vocalist Brett Anderson featured on two tracks. In 2003 she appeared on a duet with Jonas Bjerre from Mew on Mew's third album 'Frengers' with a song titled 'Her Voice is Beyond Her Years'.

Her 2004 album The World is Saved continues the path set on This Is..., but presents a more realized sound and acknowledges her earlier jazz influences more.
In addition to being a musician, Nordenstam is also an accomplished artist in other fields, such as photography and music video directing.

Slightly reclusive, she gives very few interviews, rarely performs live and even alters her appearance using wigs and make-up for album covers and magazines. During the promotion for The World Is Saved, however, she gave more interviews than usual and even talked about the possibility of future live performances.

In 2006 Nordenstam appeared in Snow Borne Sorrow - an album by the band Nine Horses singing songs-duets with the band's vocalist David Sylvian.

我的碎碎唸。。。。。。評價指數:8.2/10
一張不錯的專輯,以前很愛聼,今天重新拿過來聼,還好吧,沒有以前那種強烈的感覺了。但還是挺好聽的。車軲轆話來回說。Stina的聲音波瀾不驚,不慌不忙冷靜地唱著,我喜歡這樣的女聲。每個track都不錯。
去豆瓣上看看。。。。。。