Saturday, November 10, 2007

[Arve Henriksen|Strjon]時光烙印

Artist:Arve Henriksen
Release Date:2007-02-26
Label:Rune Grammofon
Genre: Electronic,Jazz
Style: Future Jazz, Experimental, Ambient


Evocation (1:55)
Black Mountain (5:06)
Ascent (5:58)
Leaf And Rock (2:17)
Ancient And Accepted Rite (1:45)
Twin Lake (2:51)
Green Water (5:16)
Alpine Pyramid (1:29)
Wind And Bow (5:34)
Strjon (2:02)
Glacier Descent (7:33)
In The Light (5:30)

I'm sure I don't have to remind you of the impact Arve Henriksen's second album 'Chiaroscuro' had on us and, evidently, so many of you. Using a signature muted trumpet sound and his own obtuse vocal chords he assembled an album that contained some of the most unashamedly emotional musical moments we've heard, and then some. So you can imagine our excitement on hearing that the follow-up to that album was going to be a collaboration with Henriksen's Supersilent bandmate (and regular Boomkat favourite) Helge Sten, aka Deathprod. Arve Henriksen's work, rewired by the master of dark soundscapes himself? it sounds too good to be true doesn't it? Well now the album has finally rolled in after weeks of anticipation and it doesn't disappoint, drawing you in slowly and surely, with each listen brushing aside another layer of dust and giving you a closer look at the two musicians' brave and intricate vision. The album opens quietly with that muted trumpet sound we've become so accustomed to on 'Evocation', but within minutes we are launched into 'Black Mountain' which instantly shows the earth shattering potential of this heady collaboration. With a looped trumpet part rolling and shaking in the distance Sten adds a crushing distorted melody and Blade Runner-esque synthesizers to create a sublimely spooky doomscape conjuring up images of a post-apocalyptic Scandinavian retreat. At the same time pastoral and futuristic this is a daring move for Henriksen , but it pays dividends for the discerning listeners among us. The Deathprod touch is evident throughout 'Strjon' and it is a far more minimal record than I would ever have expected from Henriksen; instead of lavishing his work with layer upon layer of muted trumpet, voice and obscure instrumentation, the sounds are spaced out and left to breath, melodies are looped, faded and placed in dark caverns with no means of escape. There are moments indeed that sound as if they could have emerged from the legendary Deathprod boxset, all filtered traces of ghostly sound and expertly produced microscopic shifts, yet this is an Arve Henriksen album, and it is his horn work that is at the heart of the album. Even the title track 'Strjon', a mere two minutes of spacious, dense sound, seems to contain the spirit of Arve Henriksen's musicianship. An unexpected, diverse and daring piece of work, 'Strjon' is a rare treat, an album which demands repeat listening to reveal its shocking potential.

這是Arve Henriksen今年的最新專輯。在這張專輯中,他與之前的Chiaroscuro不同,從開篇就使用了許多電子元素,氛圍不那麽深遠了,變得有些陰鬱了,像是對自己生命的冷靜思考,對自己身上留下的時光烙印的百般無奈。我雖然不像喜歡Chiaroscuro那樣喜歡Strjon,但是不可不承認Strjon也仍然是一張出色的專輯。

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