Monday, December 31, 2007

[Motoro Faam|...And Water Cycles]生命之源,水之循環


Artist:Motoro Faam
Album:...And Water Cycles
Release Date:2007-06
Label:Preco
Country:Japan
Genre: Electronic
Style: Modern Classical, IDM, Experimental, Ambient

Tracklisting:

1
And Snowmelts (4:49)
2
And Surface Runoff (4:10)
3
And Precipitation (8:29)
4
And Condensation (7:31)
5
And Infiltrations (7:28)
6
And Evaporation (9:47)
7
And Surface Flows (15:31)

簡介。。。。。。
MOTORO FAAM is hailed from Kanagawa, Japan and is an act made by three 23 years old musicians. Mizukami Ryuta takes care of the electronic side of this unique project (samples and programming) while Kobara Daisuke (violin) and Kato Ayumi (piano) both classical educate have a main input in the musical part. MOTORO FAAM brings a perfect blending of weird electronica with beautiful played violin and piano. The general sound can be described as Murcof or Donato Wharton in a very experimental state of mind. U-cover is pleased to have this act on their roster and a follow up release on the new U-cover transparente label is already planned for this year. With Fragments these three Japanese youngsters brings their European debut, seven tracks full of emotions, strange sounds and touching melodies. MOTORO FAAM is an act with some great future and Fragments can be seen as a big musical statement.

我的碎碎唸。。。。。。評價指數:8.5/10
秀美、壯闊,流暢得仿佛身臨其境地感受冰雪融化的瞬間。MOTORO FAAM是來自日本的三人樂團,Mizukami Ryuta負責電聲部分,Kobara Daisuke演奏小提琴,Kato Ayumi彈奏鋼琴,他們受到過正規的古典音樂教育,所以他們的音樂在電子之外,更多的是融入了一些古典音樂的元素,因此顯得非常特別。這是富有生命力爆發力的音樂,富有電影畫面感的音樂,一氣呵成得真的如流水一般,光是每個track的名字也足夠富有詩意的。這樣美好的音樂,我想在新年之始聆聽,必會帶來洶湧澎湃的好心情。送給大家,祝朋友們新年快樂!Happy New Year!
去豆瓣上看看。。。。。。
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Friday, December 28, 2007

[Kazumasa Hashimoto|Euphoriam]歲末感受了幸福


Artist:Kazumasa Hashimoto
Album:Euphoriam
Release Date:2007-12-14
Label:Midi Creative / Noble
Country:Japan
Genre:Electronic
Style:Indie,Modern Classical,IDM,Ambient

Tracklisting:

01. Count My Sheep
02. Lonesome Girl
03. Euphoriam
04. Velvet 36
05. Londo
06. Vagrantones
07. Ballad
08. White Butterflies
09. Endless
10. Perhaps I Never Meet You
11. Goodbye Miss Wiggie

簡介。。。。。。

The Japanese Noble label, home to luminaries such as TENNISCOATS, continue their releases of albums dedicated to the concept of "music for a daily life". Readers of these pages know that Noble is very dear to us, and we consider it Japan's prime label for astute alert music. Some of you might also know that KAZUMASA HASHIMOTO is our favourite Noble samurai. We are therefore eager and thrilled to be able to offer you "Euphoriam" - the new album by Japan's brightest burning star - the warm, mystical and talentful Tokyo composer, digital alchemist and pianist KAZUMASA HASHIMOTO.

The new album, "Euphoriam" is Hashimoto's fourth album, follow up to "Gllia" (Noble, 2006), "Yupi" (Plop, 2003) and "The Second Epitaph" released in May of 2004 - the latter was reviewed in over 40 publications in Europe and America, with Germany's best music monthly DE:BUG awarding it 5/5 stars, and Hashimoto's works were also extensively used by BBC TV. On all three works, he showed his talent to initiate an astonishing fusion of rich acoustic and electronic sounds, with found sounds and field recordings, which found welcoming homes also outside of Japan. After a tour in Japan, and in the East Asia, followed by collaborations with World Standard and Shione Yukawa, "Euphoriam" is here released - an undertaking that took 18 months to complete.

We have come to love Kazumasa Hashimoto for his warm genre-transcending music, his delicate combination of academic musical theory, unrivaled creativity and digital alchemist skills. “Euphorium” sees Hashimoto take a more "traditional" shape, wherein he brings his light experimental softness to a more melodic pop body - pop music that is new yet nostalgic at the same time. Hashimoto plays and produces most of the instruments, from the piano, guitar, bass to drums accompanied by several guest artists playing violin and cello, and features more vocal tracks including M-5, featuring Gutevolk. The pop melodies and the elegant and sophisticated arrangements of the tracks stun, with their beautiful and breathtaking harmony.

我的碎碎唸。。。。。。評價指數:8.2/10
Noble于14日發行了這張歲末壓軸唱片,日本音樂家橋本和昌(Kazumasa Hashimoto)的《Euphoriam》(幸福感)。這張唱片延續《Gllia》中巧妙結合電音與古典和輕搖滾的創作路線,以鋼琴為核心加上靈巧的嗶叭噪音所刻劃出的蔥鬱個人聲音世界,配合大量弦樂與管樂器增加音色的溫潤度,深具空間感的電聲處理,音樂滿佈雅致與多元的聲音亮點,加上這次大量使用美妙人聲吟唱,的確讓人聽出幸福的感覺,也讓樂迷更清楚感受到他努力追求的“futuristic pop”到底是什麼。

從《Yupi》、《Epitaph》、《Gllia》到這張《Euphoriam》,明顯可以感受到橋本對處理人聲的興趣一張比一張大,今次整張11首曲目當中演唱曲目就佔了8首之多,除了上回在《Gllia》中合作愉快的Uma Torrini繼續獻聲,日本女唱作人Hirono Nishiyama (Gutevolk) 也為曲目[Londo] 操刀演唱(橋本今年為Gutevolk專輯擔任製作人)、而專輯主題曲目”Euphoriam”則邀得Escalade樂隊的主腦Greg Sullivan友情獻唱。除了大量使用人聲,橋本音樂另一個重要變化是越來越甜蜜,《Euphoriam》更是開宗名義要你感受他音樂傳遞出的無比幸福感,不管是“Lonesome Girl”、“Euphoriam” 、“Velvet 36” 、“Perhaps I Never Meet You”等曲目,都滿溢如春天般悠揚愉快的氣息,我深信只有每天活在愉快氣息當中、樂天又帶點純真的人,才會創作出這樣子的音樂出來,並希望分享給大家。(引自節點)
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Tuesday, December 25, 2007

[Tape|Opera]歌劇院中的人生哲學


Artist:Tape
Album:Opera
Release Date:2002
Label:Häpna
Country:Sweden
Genre: Electronic
Style: Leftfield, Experimental

Tracklisting:

1
Bell Mountain
2
Fire made of Bones
3
Feeler
4
Summa
5
Radiolaria
6
Longitude
7
Noises from a Hill
8
Return to Ship
9
Terraces
10
Rut

簡介。。。。。。
Beetles rattled and whispered encrypted truths while hovering over the garden paths of the doctor’s mansion. Specimen found on the journey that don’t fit the theory haunts you, but be calm, we will quietly discuss them later. Impressions found in corallic limestone; you have rocks large as fists with you in the luggage, fine we will examine them tonight in the umbrageous light on the porch. You have rowan-tree here, he said. Old thyme, medicinal herbs, minfoil, a scrubby bush of some kind. Yes... was there anything curious about that? Was it criticism that the old friend uttered? Certainly, he was more incalculable than ever; I also read in the local paper about his infamous outbursts after he came home from his journey, but I must not think about it too much.

The temperature dropped. Night spiders and dragonflies flew in from the pond, in over the gates and through the iron fence. Spirals of cobweb was caught in the woodwork as we sat on the porch after our walk in the garden. Anomalies, tiny crooked bone pipes, notes cut out of malajic travel journals and pieces of wood, that to me at least seemed insignificant and not quite relevant to the subject; all this was presented on the table cloth under flickering kerosene light that somtimes widened our world and invited plants and moths to our conversations, sometimes shrunk it to a world of shadows with room just for the two of us. It was a strange collection of objects. Suddenly, I was overwhelmed with a feeling that everything was possible; the evolution had proceeded in radically different directions on various places on Earth; the world was open, it could bring forth every living being and object imaginable. From afar, the noise of thunder could be heard, and shivering I was reminded of that in noise every sound is present even if one can’t hear them, as every conceivable form thrive in chaos during a inhumanly absurd time scale. (from the Xesmarism, in Swedish)

我的碎碎唸。。。。。。評價指數:8.2/10
Tape的音樂是適合在半夜聼的,白天太過喧鬧,感受不到它的味道。一個長長的電音一直在耳邊縈繞,但是依舊寧靜,散發著獨自一人可以靜下心來思考時的迷人香氣,把玩著吉他,讓它跳出一個個緩緩的音符,仿佛人生哲學似的令人回味。
去豆瓣上看看。。。。。。
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[Tape|Milieu]平安夜,寧靜的音符,我好平安


Artist:Tape
Album:Milieu
Release Date:2003
Label:Häpna
Country:Sweden
Genre: Electronic
Style: Minimal, Leftfield

Tracklisting:

1
Oak Player
2
Sponge Chorus
3
Crippled Tree
4
Edisto
5
Golden Twig
6
Long Bell
7
Root Tattoo
8
Switchboard Fog

簡介。。。。。。
Tape is a trio from Stockholm, Sweden, building their music from a whole array of acoustic instruments, computer and field recordings. Their first CD “Opera” got excellent reviews in international press and was compared to artists such as Talk Talk, Gastr del Sol, Fennesz, John Fahey and Faust. See the web page for full info and reviews about “Opera”.

Their new CD “Milieu” shares the same basic premises as “Opera”. All kinds of sound sources are used and organically integrated in the songs, which move freely somewhere between the composed and the improvised.

Even if “Milieu” makes use of experimental methods, the album is argumentably more songbased than “Opera” and therefore maybe more accessible.

“Milieu is Björn Olsson as seen through Gastr del Sol's lens — or Pascal Comelade influenced by the Nordic winds instead of the Spanish sun. Peaceful, slightly melancholic, impressionistic without sounding tentative, Milieu delivers a very coherent half-hour of music. [...] Recommended despite its brevity.”
Rated 4/5, François Couture, All music guide

“Tape succeeds where other "folktronica" acts noodle themselves into a corner or fall prey to an over-determined laptop. On Milieu, the trio's second album, the compositions are carefully and emotionally layered, a midnight Fahey/Parch pantomime against a rusted silo.”
Rated 7.9/10, Brandon Stosuy, Pitchfork

我的碎碎唸。。。。。。評價指數:8.5/10
我喜歡的類型。我喜歡的類型主要有兩种:寧靜柔和得令人陶醉,另一種bizarre、weird得讓我能夠在音樂中肆意放縱。Tape這張專輯屬於前者,尤其是在這樣一個平安之夜,我真的覺得自己好需要它啊,感謝上帝給我這樣一張美麗田園一般的好音樂陪我度過一個祥和安靜的平安夜,有了它我沒有感覺到寂寞與孤獨。朋友在網上問我爲什麽還不睡覺,在等聖誕老人嗎?我笑著給了他肯定地回答,是的,我在等聖誕老人還有他給我準備的禮物。:)伴著音樂,感受著這份屬於我一個人的自由自在的平安。
去豆瓣上看看。。。。。。
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[Sagor & Swing|Orgelplaneten]光電蝴蝶鳥,跳動地終結


Artist:Sagor & Swing
Album:Orgelplaneten
Release Date:2004
Label:Häpna
Country:Sweden
Genre: Electronic, Rock
Style: Leftfield, Downtempo, Prog Rock

Tracklisting:

1
Henriks Födelsedagsmelodi
2
Äventyr I Alperna
3
8-Bitarspolskan
4
Rymden På 50-Talet
5
Distro
6
Smedjebacken By Night
7
Postmodernism
8
Bora Bora
9
Baklängesvisa
10
Idiom

簡介。。。。。。
Just half a year since “Allt hänger samman” and the fourth album from Sagor & Swing, “Orgelplaneten” (“The Organ Planet”) is here. The energy has been turned up quite a bit. This more energetic side of their sound has been showing a whole lot during their concerts, but this is the first time that it has been captured on record, as a document of how the duo have sounded live. It also stands out from their three earlier records by adding Moog and accordion to the usual setup of organ and drums.

A more playful and joyous atmosphere runs through the record. Many of the songs e.g. “8-bitarspolskan” and “Äventyr i Alperna” have an electronic sound reminiscing of synthesizer experiments á la Jean Jacques Perrey. “Distro” and “Postmodernism” are both full-on instrumental pop songs while “Smedjebacken by night” echoes of lazy hotdog-stand reggae. But the fairyland-music and Sagor & Swing’s unmistakable touch is still there, just below the surface.

This album marks the end for Sagor & Swing. Echoes and shadows will certainly turn up in the future, but “Orgelplaneten” is the final record from the group as we remember them.

我的碎碎唸。。。。。。評價指數:7.5/10
在這張唱片之後,Sagor & Swing宣告解散,每一支很棒的音樂團體解散,我都會感到很難過很遺憾。這張專輯與Sagor & Swing之前的發行相比,明顯地強烈很多,跳動很多,也吵鬧很多。不知兩人是否在這時產生了某些摩擦,還是什麽原因,這張專輯像是某种衝突、或者是某种爆發,充滿著力量,與之前的風格迥然不同,卻與Eric Malmberg的solo album有些相像。兩人以這樣一張富有動感的專輯結束了他們3年來的合作。
去豆瓣上看看。。。。。。
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[Sagor & Swing|Allt Hänger Samman]黑森林中的聖光


Artist:Sagor & Swing
Album:Allt Hänger Samman
Release Date:2003
Label:Häpna
Country:Sweden
Genre: Electronic
Style: Downtempo, Ambient

Tracklisting:

1
Återkomsten
2
Lövverk
3
Vid En Tjärn
4
Grottmusik
5
Polska Från Insjön
6
Längre In I Skogen
7
Längst Inne I Skogen
8
Det Sista Äventyret
9
Vandring Bort
10
Flyttfåglar
11
Alla Sagor Har Ett Slut

簡介。。。。。。
The myth of Sagor & Swing tells that they are children of nature that grew up in the forest. That they at an early age built their first instruments and isolated from the noise of civilization invented a music of their own. What we know for sure, however, is that they make wonderful organ music and have been doing this for some time now. This is their third album, “Allt hänger samman”.

The woods have thickened. The melodies have become more intricate and the idyllic scenes now have a darker tone. One slips away on excursions in the faintest sounds through passages where the organ is a tone generator built to recreate the sounds of the forest - the wind, the singing of birds, the creaking of roots.

As soon as the majestic introduction “Återkomsten” begins, one senses that something is going on. In “Lövverk” echoes are heard of Kraftwerk and their endless ostinati and the final “Alla sagor har ett slut” is a magnificent, minimalistic bookending. The moods that are summoned in between the songs keeps one helplessly in the world of Sagor & Swing.

Their previous two albums “Orgelfärger” and “Melodier och fåglar” are both small gems deserving wider recognition.

我的碎碎唸。。。。。。評價指數:8.3/10
節點中這樣描述Sagor&Swing的音樂:「在過度感官刺激與資訊轟炸的年代,很多人雖然想安靜一下,其實卻無法忍受真正的無聲。這張『沒什麼的音樂』(nothing music),正能滿足那種渴求。」就是這樣一類音樂,一直播放著既不覺得寂寞,也不影響心情和手邊的忙碌。所以經常能夠聼到這樣的音樂,是現代都市人心靈的一方很好的撫慰劑。
去豆瓣上看看。。。。。。
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Monday, December 24, 2007

[Sagor & Swing|Orgelfärger]溫婉的月,夜的使者


Artist:Sagor & Swing
Album:Orgelfärger
Release Date:2001
Label:Häpna
Country:Sweden
Genre: Electronic
Style: Downtempo, Ambient

Tracklisting:

1
Vals På Vingar
2
Melodi
3
Andra Melodin
4
Sagoslottet
5
En Vandring I Bergen
6
Ljud Långt Bortifrån
7
Ett, Två, Tre, Fyr
8
Mjuk Skog
9
Allt Kommer Att Ordna Sig
10
Bordunens Vandring
11
Ljud Långt Långt Bortifrån

簡介。。。。。。
In the living room of a small house in Dalarna, the Swedish countryside, Sagor & Swing has recorded this timeless music evoking the surrounding landscape - the forests, mountains and lakes. Moody and simple melodies with echoes of old Swedish folk tunes and the nature in the paintings of John Bauer.

Some years ago, Eric Malmberg was given an organ from legendary Swedish organplayer Bo Hansson, one half of the 70’s drums/organ duo Hansson & Karlsson. This organ was the very one used on Hansson’s epic record Lord of the Rings, an influential record which combined jazz and rock together with minor key melodies of Swedish folk music. Sagor & Swing makes a more minimal journey. The melodies unfold at a calm pace and the whole album has a mesmerizing feeling to it.

This is music which could only have been made in Sweden. While the music of Björn Olsson, another Swede influenced by folk music, is connected to the archipelago of the Swedish west coast, Sagor & Swing has its spiritual home in the old forests deep in the middle of the country.

Eric is also an accomplished comic strip writer. His serial “Hansson & Karlsson i världsrymden” (“Hansson & Karlsson in outer space”) ran in the Swedish newspaper Dagens Nyheter at the end of 2000.

我的碎碎唸。。。。。。評價指數:8.2/10
縂覺得Sagor & Swing要比Eric的solo要好聼,難道是人多力量大?hoho。而且更溫和,更舒緩,柔美的風琴演奏,配上輕輕的鼓點,Sagor & Swing是這個音樂領域的先鋒。
去豆瓣上看看。。。。。。
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[Eric Malmberg|Verklighet & Beat]窗外的世界很精彩


Artist:Eric Malmberg
Album:Verklighet & Beat
Release Date:2007-09-12
Label:Häpna
Country:Sweden
Genre: Electronic, Rock
Style: Prog Rock, Ambient

Tracklisting:

1
Finalen
2
Min Kompis Anton
3
Till Minne Av Lilly Lindström
4
Slutet På En Epok
5
Leksand, Tidigt Nittiotal
6
Söndagskonsert
7
Milda Döden Hämtar Oss Alla Till Slut
8
Ackordflödet Och Evigheten
9
Varat Fanns Någonstans I Röran
10
Styx

簡介。。。。。。
Eric Malmberg might not be a name on everyone's lips (especially if you've been born and raised anywhere south of Sweden) but this latest from the ex-Sagor & Swing organist, despite a title that makes pronunciation to a non Scandinavian about as easy as humming the Hungarian national anthem, is a real triumph. Some of you might have heard Sagor & Swing before, some might even have caught them live - I was lucky enough to manage the latter and it was an unforgettable experience, pinned together by Malmberg's virtuosity on his trusty Hammond organ. Prog fans will no doubt have heard the name Bo Hansson bandied about a little, and the man who once wrote an album dedicated to Lord of the Rings (how prog is that?! and this was before Peter Jackson had even had a sniff) serves as Malmberg's biggest influence, even popping up on 'Verklighet & Beat' on the synthesizer. So far so Swedish. But this album, easily Malmberg's most assured solo work to date, should see the musician carry his music far beyond the Northern Lights. Okay so maybe I'm not the best person to ask about this, being a Goblin completist and self-confessed Rick Wakeman fan (sorry) I have a rather high tolerance for proggy excess, but this record is a dictat in Hammond-led magnificence from its first, assured chord. The instrumentation is simple - live drums, Hammond organ, guitar, bass and the occasional synthesizer and over ten tracks Malmberg creates an acid-laced, THC haze of tie-dyed, rose tinted gorgeousness, harnessed by each player's clearly outstanding abilities. It's odd because with this unusual burst of interest recently in anything proggy, psychedelic and breaks heavy (thanks in part no doubt to Andy Votel's killer Finders Keepers imprint) Malmberg's music suddenly makes a lot of sense in 2007. He might have been busying himself with the Hammond for many years now but the climate feels right at the moment for him to capture the hearts and minds of crate diggers and a new generation of psychedelic explorers, and I suggest that anyone enamoured by recent rediscovered psych/prog gems from the 70s should check this album without any further delay. I don't want to go into it track by track, because first and foremost (like every great prog album) it needs to be heard in its entiriry, but a special mention needs to go out to the phenomenal and totally bonkers 'Till minne av Lilly Lindström' a track which starts with a clean break, builds into dancefloor abusing Hammond-hammering mayhem and then ends up with lush string orchestrations and disco-lite sweeps. Insane and more enjoyable than you could possibly imagine - an album to totally lose yourself in, and one for anyone looking for something just that little different. Huge recommendation.(from Boomkat)

我的碎碎唸。。。。。。評價指數:8.0/10
Eric Malmberg在Häpna發行的第二張solo,第一張Den Gåtfulla Människan發行05年。Eric Malmberg是個有天賦的風琴演奏者,風琴在他的手裏,似乎充滿著魔力,能夠發出閃閃亮亮的璀璨光芒。
去豆瓣上看看。。。。。。
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[White Magic|Dat Rosa Mel Apibus]玫瑰or罌粟


Artist:White Magic
Album:Dat Rosa Mel Apibus
Release Date:2006
Label:Drag City
Country:US
Genre: Rock
Style: Folk Rock

Tracklisting:

1
The Light (3:27)
2
Hear My Call (4:28)
3
Childhood Song (3:59)
4
What I See (3:33)
5
All The World Wept (5:07)
6
Dat Rosa Mel Abipus (5:08)
7
Sun Song (3:56)
8
Hold Your Hand In The Dark (6:28)
9
Katie Cruel (4:32)
10
Sea Chanty (5:24)
11
Palm And Wine (3:38)
12
Song Of Solomon (6:13)

簡介。。。。。。
White Magic's original lineup was comprised of Mira Billotte on vocals and piano, drummer/bassist Miggy Littleton, and guitarist/drummer Andy Mcleod. Billotte played drums and sang in Quix*o*tic with her sister Christina (of Slant 6 fame); Littleton once played in Ida; and McLeod also played in California Speedway. For a couple of years, the band played in New York. They soon appeared on a United Bamboo compilation. Drag City signed them in 2003, and in 2004, they released the band's Through The Sun Door EP to general critical praise. They toured the U.S. opening for like-minded folk musicians Will Oldham and Brightblack Morning Light in 2004 (when the latter band was still known as Brightblack).

In 2005, the group appeared on a free split EP, sponsored by Tylenol; it featured three songs each by White Magic and indie rock band The American Analog Set. Throughout 2005, Billotte performed as White Magic accompanied by guitarist Sleepy Doug Shaw. White Magic's current lineup's core consists of these two musicians, aided by an array of friends/musicians of similar musical aesthetics.

On November 14, 2006, debut album Dat Rosa Mel Apibus was released on Drag City Records.Billotte's alto has earned her comparisons to Grace Slick, Karen Dalton, Beth Orton, Dawn McCarthy (of Faun Fables), and Nico.

我的碎碎唸。。。。。。評價指數:6.5/10
簡單的鋼琴敲擊,配上吉他旁敲側擊和重重的鼓點,女主唱兼鋼琴手的Mira Billotte的聲音倒是有幾分張力,曲風有幾分復古。但是個人對這張專輯實在是沒有什麽興趣,因為我覺得它有些單調,以至於聼了很多次都沒有將這張專輯完整地停下來過。今天終于耐下心來,仔細聼一聼,這張專輯是一張耐聼的專輯,也許需要反復地聼才能找到些感覺。
去豆瓣上看看。。。。。。
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[Joanna Newsom|The Milk-Eyed Mender]書架上那本塵封已久的童話故事


Artist:Joanna Newsom
Album:The Milk-Eyed Mender
Release Date:2004-03-23
Label:Drag City
Country:US
Genre: Rock
Style: Folk Rock

Tracklisting:

1
Bridges And Balloons (3:42)
2
Sprout And The Bean (4:32)
3
The Book Of Right-On (4:29)
4
Sadie (6:02)
5
Inflammatory Writ (2:50)
6
This Side Of The Blue (5:21)

Guitar - Noah Georgeson
7
"En Gallop" (5:07)
8
Cassiopeia (3:20)
9
Peach, Plum, Pear (3:34)
10
Swansea (5:05)
11
Three Little Babes (3:42)

Vocals - Noah Georgeson
12
Clam, Crab, Cockle, Cowrie (4:21)

簡介。。。。。。
Classically trained harpist Joanna Newsom uses her appreciation of Appalachian folk and bluegrass for an oddly alluring set of indie rock melodies. Milk-Eyed Mender, which follows her homemade EP releases Walnut Whales and Yarn and Glue, is rich in harvest colors. Newsom's childlike voice brings an unstudied grace to an innocent setting of songs, and such quirkiness is hard to find among most guitar-driven indie acts. From the more whimsical moments of "Peach, Plum, Pear" and "Inflammatory Writ" to the dovelike ballad "This Side of the Blue," Newsom welcomes the listener to sink into its imagination. Delicate harp arrangements are nicely sprinkled among specks of pianos, organs, and a harpsichord, only adding to the fascination that is Milk-Eyed Mender. Some may find the album to be overly sweet in spots due to Newsom's girlish voice; however, the fairytale-like appeal of Milk-Eyed Mender is far too intriguing to dismiss. Newsom exists in several musical spheres, one being a member of the Pleased, while not forgetting how wonderful it is to live in a warm place that leaves you bright-eyed and hopeful for only what is good in life.(From AMG)

我的碎碎唸。。。。。。評價指數:8.0/10
Joanna的歌聲讓我回到童年,豐富的想象,絢爛的色彩,像一個又一個可愛的童話故事。第一次認識她就是通過上面的那個video,那個叫做Sprout And The Bean的童話,有著夢幻般的意境、美妙得如行雲流水般的音符。於是我喜歡上了這個會彈豎琴的女孩。不過Joanna的歌對於我來説不能連續地聼很久,這也是真的。呵呵。
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[Beck|One Foot In The Grave]我將一只腳踏入墳墓


Artist:Beck
Album:One Foot In The Grave
Release Date:1994-06-27
Label:K
Country:US
Genre: Rock
Style: Folk Rock, Acoustic

Tracklisting:

A1
He's A Mighty Good Leader
A2
Sleeping Bag
A3
I Get Lonesome

Vocals - Calvin Johnson
A4
Burnt Orange Peel
A5
Cyanide Breath Mint
A6
See Water
A7
Ziplock Bag
A8
Hollow Log
B1
Forcefield
B2
Fourteen Rivers Fourteen Floods
B3
Asshole
B4
I've Seen The Land Beyond
B5
Outcome
B6
Girl Dreams
B7
Painted Eyelids
B8
Atmospheric Conditions

Vocals - Calvin Johnson

簡介。。。。。。
One Foot in the Grave appeared not long after the noisy freak-out of Stereopathetic Soulmanure, and its quiet, folky textures couldn't be more different than those of its predecessor, or the genre-bending Mellow Gold, for that matter. Recorded before Mellow Gold, the record showcases Beck as a postmodern folkie, and the results are revelatory. Stripped of the intoxicating production that dominated Mellow Gold, Beck's songs prove to be wonderful, vibrant tunes, teeming with emotion, haunting wordplay, and simple, memorable melodies. It's alternately haunting and jubilant, and Calvin Johnson's occasional harmonies lend the record an intimate warmth. It's a gentle record, and its collection of small gems are every bit as impressive as the songs on Mellow Gold or its 1996 follow-up, Odelay.

我的碎碎唸。。。。。。評價指數:7.6/10
好老的專輯了,1994年的,我又把它找出來了。我現在的朋友幾乎沒有幾個人知道我還聼過他的音樂了,我想聼Coldplay、Radiohead成長起來的一代人應該也都聼過他,所以當然我也不例外。今天我聼Beck也並不感覺枯燥,當然也是分心情的。他的音樂、還有他的嗓音、包括他的吉他彈法,總是令我感覺到一種不羈與灑脫,既有美國式的隨意又有英倫的酷勁十足,聼著這樣的音樂就不必去在乎任何現實中的不快了,讓它們滾到一邊去。
去豆瓣上看看。。。。。。
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Thursday, December 20, 2007

[Kemialliset Ystävät|Kellari Juniversumi]圖騰崇拜,天外之音


Artist:Kemialliset Ystävät
Album:Kellari Juniversumi
Release Date:2002
Label:Fonal Records
Country:Finland
Genre: Electronic
Style: Abstract, Ambient

Tracklisting:

1
Puiden Sydämet Antavat Tahdin (2:23)
2
Kellari Juniversumi (2:48)
3
Taivas Ja Meri, Yhteen Sulautuneina (3:17)
4
Utuaurat (1:50)
5
Mustametsä (2:38)
6
...On Pieni Metsä (1:24)
7
Planeetta Kaukainen Muo Kutsuu (1:29)
8
Kuuntelin Kuinka Puut Kuiskivat (2:42)
9
Monien Kalojen Aalto (3:05)
10
Kuuma Tomu (3:32)
11
Amerikka (2:18)
12
Kummitushiiri (2:19)
13
Salainen Paikka (2:04)
14
Pallo (3:38)
15
Kuutarhassa (3:27)
16
Soihdun Tuhkaa (2:46)
17
Heijastuksia! Kaikuja! (5:10)

簡介。。。。。。
Probably one of the best known and most credible exports of Finland’s burgeoning free-psych scene, Jan Anderzén aka Kemialliset Ystävät (which means Chemical Friends) burst into relative popularity with this 2002 album, now reissued with a gorgeous book of artwork. After a slew of cassette, 7” and cdr releases, the wonderful people at Fonal saw fit to throw Mr. Anderzén’s work into public view and unsurprisingly it received universal acclaim. Taking cues from the American new-psych gods Jewelled Antler Collective (of whom Anderzén is a sometime member) this is free music at its very best; unpretentious compositions which retain an undeniable sense of irreverence and can be experimental without losing sight of listenability. All sorts of sounds are thrown into the mix – layer upon layer of analogue synth squelches, detuned guitars and other miscellaneous small instruments adding to the texture and wall-of-sound on this record. For fans of Fonal this record is an absolute must, an important stepping stone for the label and a hugely influential part of the modern weird-folk-psych scene.(from boomkat)

我的碎碎唸。。。。。。評價指數:8.4/10
他們的專輯有好多張,準備都聼過之後再寫。Kemialliset Ystävät的英文意思是Chemical Friends。這張發行于2002年,編號FR-21。封面好讚,買一張Fonal的CD真是無論從視覺上還是聽覺上都不會後悔。
去豆瓣上看看。。。。。。
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[The Valerie Project|The Valerie Project]瓦萊莉和她的奇跡一周


Artist:The Valerie Project
Album:The Valerie Project
Release Date:2007-11-19
Label:Drag City
Country:US
Genre: Rock,Indie
Style:Indie

Tracklisting:

1. Prelude 0:44
2. Introduction 2:26
3. Torchlight 3:09
4. Grandmother 4:58
5. A Letter 2:03
6. Tree Of Life 1:39
7. The Sermon 1:32
8. Eagle's Theme 2:19
9. Dungeon 2:57
10. Fire Fountain 2:58
11. The Feast 3:22
12. Dove, Pearl, Priest 2:31
13. Vampires 2:57
14. Eagle's Theme (Reprise) 2:25
15. The Crypt 0:57
16. Elsa 3:12
17. Machine Room 3:06
18. Bookshelf Serenade 1:21
19. Flower Girl 1:00
20. Blood Sacrifice 3:31
21. The Crypt (Reprise) 2:31
22. A Second Letter 0:55
23. Hedvica 2:10
24. Burned At The Stake 2:53
25. Den Of Iniquity 3:15
26. An End To Enchantment 0:55
27. A Final Letter 3:13
28. Death and Rebirth 2:04
29. Reunion 6:32
30. Crib 0:20

簡介。。。。。。

http://www.valerieproject.org/
A surrealist fairy tale involving vampires, lecherous priests, witch-burning, and budding teenage sexuality, Jaromil Jires' 1970 film Valerie and Her Week of Wonders could scarcely have been more tailor-made to become a cult favorite. Considered a classic of Czech New Wave cinema, the film's reputation has also benefited greatly from Lubos Fiser's original film score. As with the soundtrack to the 1973 version of The Wicker Man, Fiser's enchanting score has itself become an important underground touchstone, whose echoes have been heard in the work of Broadcast, Tim Burton, and all across the psych-folk terrain.

Now, as a tribute to the film and its enduring appeal, a collective calling themselves the Valerie Project have created and performed an alternate soundtrack to accompany 35-mm projections of Valerie and Her Week of Wonders. Led by Greg Weeks of Espers, the Project unites an impressive ensemble of Philadelphia-based musicians that includes several members of Espers, Tara Burke of Fursaxa, and electronicist Charles Cohen. One of the group's stated goals is reframe the film to help viewers advance new interpretations of this complex work. Whether or not they've succeeded in that regard is likely open to debate, but nevertheless their dense, vibrant new score can certainly be savored as an engaging and imaginative song cycle in its own right.

Even after multiple viewings, Valerie and Her Week of Wonders can remain a bewildering spectacle, and its dream-like plot defies easy synopsis. Long story short: a young girl hits puberty, gets herself a pair of magic earrings, and all hell breaks loose as she soon discovers that seemingly everyone she encounters is a shape-shifting blood relative, a lascivious clergyman, and/or a vampire.

In fact, the film is filled with so many odd plot twists and bizarre images that it effectively becomes a blank slate for its composers, as virtually any score that is even remotely mystical or enchanted is going to sound more or less appropriate. So it is interesting to note that the Valerie Project have here neither done a faithful recreation of Fiser's original score, nor have they necessarily taken the soundtrack in any radical new directions. Instead, the music here can almost be considered as a fantasia on the themes introduced by Fiser, and is best appreciated as a supplement to the original score rather than as a replacement.

In the original score, Fiser and collaborator Jan Klusak used a gauzy array of woodwinds, harpsichord, and a children's chorus to craft a soundtrack that elevated the film's off-kilter balance and sense of anti-authoritarian whimsy. For their part, the Valerie Project have incorporated certain elements of Fiser's design-- a lyrical flute passage here, some disembodied voices there--but with the aid of Weeks' acid guitar leads and a forceful string section they have instead captured more of the film's underlying melancholy and brooding aura of loss.

Despite my best efforts, and the Valerie Project's descriptive song titles, I had very little luck in synchronizing their soundtrack with a DVD of the film in any truly precise or meaningful way. (Although there does seem to be a portentous twinkle of chimes whenever those magical earrings appear onscreen .) That said, the group do a fine job of conveying the general mood and atmosphere of the film's action through the disorienting psychedelic swirl of "Grandmother" or with the robust strings of "Burned at the Stake", and once you have seen the movie it becomes easy to discern which scenes each track is designed to evoke. As with her Fursaxa work, the wordless vocals of Tara Burke are a sumptuous treat throughout, and the album's strongest pieces such as "Eagle's Theme" or "The Feast" match or better the transporting splendor of anything yet created by Espers.

Weeks has stated that he feels Valerie and Her Week of Wonders projects a political or cultural message that remains relevant today through its themes of lost innocence and responsible pastoral living. And though the film is certainly abstract enough to be open to a variety of interpretations, this feels to me like a bit of a stretch. The film's sexual politics might seem rather problematic to today's audiences, and it certainly doesn't paint a very rosy picture of pastoral life, especially if you don't like getting chomped by vampire grannies. There is little doubt, however, that the Valerie Project's passion for Jires' film and Fiser's soundtrack has taken them well beyond anywhere they might otherwise have gone, and with this album it is an enjoyable privilege to join in their travels.(from Last.fm)

我的碎碎唸。。。。。。評價指數:8.2/10
第一次在網上看到這張專輯的時候,我就決定一定要聼一聼,它的封面,它的名字都讓我感覺到深深地好奇。感謝我的朋友Tore幫我找來這張專輯,聼過之後才知道Valerie Project真的是來自于這部我心愛的電影,Jaromil Jires的Valerie and Her Week of Wonders(1970,捷克新浪潮的尾聲,嚴格意義上說這部電影不屬於典型的捷克新浪潮影片)。以前也聼過Fiser的電影原聲,現在由Espers的幾名成員、還有Fursaxa的Tara Burke以及電音藝術傢Charles Cohen一起組成的這個Valerie Project,為這部電影的愛好者們,重新創造並演繹了這個夢幻的哥特式女孩童話,非常令人驚喜。
去豆瓣上看看。。。。。。

Wednesday, December 19, 2007

[Kazumasa Hashimoto|Gllia]五光十色動物園裏的美麗回憶

Artist:Kazumasa Hashimoto
Album:Gllia
Release Date:2006-03-10
Label:Midi Creative / Noble
Country:Japan
Genre: Electronic
Style: Modern Classical, IDM, Ambient

Tracklisting:

1
Theme (1:47)
2
Mr. Gleam (5:21)
3
Monochrome Prome (6:17)
4
001 (Far) (1:59)
5
Ne Connissons (4:40)
6
Ruinruin (3:59)
7
Gllia (6:15)
8
002 (Esbia) (1:38)
9
Milmils (4:17)
10
Drama (3:39)
11
The Happy Days Passed Like A Dream (2:39)
12
Curtainfall (1:55)

簡介。。。。。。
Noble label releases albums under the concept of "music for daily life" and is very pleased to announce that a new artist has joined us. The 11th release from the label is Gllia by this internationally acclaimed composer kazumasa hashimoto known for his warm musical style you could describe as a blessed honeymoon of classical music and electronica.

With his last two successful albums, the first album yupi released in April of 2003 and the second epitaph released in May of 2004, he showed his talent to initiate an astonishing fusion of rich acoustic and electronic sounds and field recordings and immediately caught listeners' attention in and outside of Japan. After a tour in Japan and in the East Asia and collaborations with world standard and Shione Yukawa, he released the first full album in 22 months.

The graceful ensemble of various acoustic instruments: the keyboard instruments such as the piano, the glockenspiel, the vibraphone and the marimba, the stringed instruments such as the violin, the cello and the guitar, the wind instruments such as the clarinet and the trumpet and the drums. Somewhat melancholic vocals and poetry reading. Scratching noise gentle to the ears. He arranges these diverse musical elements and does deep space processing of sounds for his orchestra full of elegant and universal illumination, which is unbearably beautiful. Gllia, in which kazumasa hashimoto shows his talent as a new generation composer by developing his own style and revealing a rather personal aspect, is undoubtedly his masterpiece at this moment.

我的碎碎唸。。。。。。評價指數:8.0/10
這張專輯在鋼琴的旋律之外,大量地用了以前也使用過的似機器似真人的聲音,還有吉他、大提琴等弦樂。從Theme開始,Kazumasa Hashimoto用豐富的配器和層次演繹了一段美好時光,悠揚、令人放鬆,仿佛與最好的朋友或者最愛的人在一起的時光。直至The Happy Days Passed Like A Dream,達到了高潮,也有些傷感,這首曲子真的讓我當時的心情為之一顫,我非常喜歡這個track,雖然它很短。於是就在這個似乎代表永恒的曲調中Curtainfall。。。
去豆瓣上看看。。。。。。
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[Kazumasa Hashimoto|Epitaph]化腐朽為神奇,霜精靈之物語


Artist:Kazumasa Hashimoto
Album:Epitaph
Release Date:2004
Label:Flyrec
Country:Japan
Genre: Electronic
Style:eftfield, IDM, Ambient

Tracklisting:

1
Beginning (1:32)
2
Echomoo (4:11)
3
-1° (4:18)
4
SLD (5:31)
5
Eama Gene (7:30)
6
-2° (1:25)
7
Pulcinella (5:22)
8
-3° (1:41)
9
Epitaph (7:41)
10
-4° (5:26)
11
Ending (3:39)

簡介。。。。。。
"Epitaph" is the follow-up to Kazumasa Hashimoto's first album "Yupi" which was released to critical acclaim in Spring 2003.

Using the piano as the centerpiece as well as wind and string instruments, Hashimoto blends his ensemble of acoustic instruments with sine waves, glitch noises, and electronics to create a lush and refreshing world of sound.

While incorporating elements from minimalist composers as well as electroacoustic music and electronica, Hashimoto's music has a universal and timeless appeal to it.

The rich tones of the acoustic instruments, the beautiful harmonies, the skillfull arrangements, and the multitude of musical elements blended into the background of the songs makes for a listening experience that is always invigorating.

This real-life soundtrack is sure to pluck gently at the heartstring of all listeners.

我的碎碎唸。。。。。。評價指數:8.1/10
Kazumasa Hashimoto第二張專輯,依然是以鋼琴作爲主旋律,加入各種電音與合成。音符清涼、跳躍,給人冰雪天地那種很純淨的感受,氛圍或可愛活躍、或瑰麗壯闊,或柔美空靈。他的唱片總是讓我感覺很完整,像一部電影,有畫面,有初始,有段落,有尾聲,零下n度的創意將高潮層層推進,編排得無可挑剔。
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Monday, December 17, 2007

[Kazumasa Hashimoto|Yupi]聆聽花開的聲音


Artist:Kazumasa Hashimoto
Album:Yupi
Release Date:2003
Label:Plop
Country:Japan
Genre: Electronic
Style: Minimal, Leftfield, Experimental

Tracklisting:

1
Input
2
Encyclopedic Landscape
3
+
4
Output
5
Cucurus
6
++
7
Noaro
8
+++
9
Carune
10
Telomere
11
++++
12
Synapse
13
+++++
14
Yupi

簡介。。。。。。
Kazumasa Hashimoto (b. 1974 in Tokyo, Japan) is a Japanese composer, mastering engineer and web designer.As a child, Hashimoto learned classical piano, starting to compose in high school while making music on his computer. He majored in composition at Tokyo College of Music. His minimalistic music is a rich blend of electronic textures, digitally distorted voices and acoustic instruments such as cello, violin and clarinet, and makes extensive use of the piano.

As a pianist he has collaborated with Japanese electronica artist World's End Girlfriend and with world music artist Souichiro Suzuki. In 2005 he was featured on Childish Music, an anthology of music compiled by Ekkehard Ehlers in "an attempt to define a new genre" of "naive sounds".

我的碎碎唸。。。。。。評價指數:8.4/10
這張發行于2003年的唱片編排很有意思,有幾個track,名為+。它們將Yupi有銜接地分爲了幾個部分,好像一部交響樂的幾個樂章一樣。 Kazumasa Hashimoto(橋本和昌)自幼學習鋼琴,所以最擅長將鋼琴與electronic結合營造氛圍。他的音樂是有畫面的,能夠讓聽者的腦海中呈現一幅幅想象的圖景,海天白雲,鳥語花香,流水潺潺。。。如何形容這張可愛的專輯呢?靜謐,深邃,清新,高遠。。。每一個部分都似乎傳達著不同的主題,營造著迥異的聲音景觀。
去豆瓣上看看。。。。。。
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Sunday, December 16, 2007

[Kira Kira|Skotta]電氣貓咪上太空


Artist:Kira Kira
Album:Skotta
Release Date:2006
Label:Smekkleysa
Country:Iceland
Genre: Electronic
Style: Leftfield, Abstract

Tracklisting:

1
Boat (1:50)
2
Romantic Accident (2:45)
3
Kittens In His Pockets (4:58)
4
Drakula Darling (4:21)
5
Syngdu Svarthol (2:22)
6
Epitaph (2:20)
7
Dyri (2:14)
8
Malfur Skinnytoe Junior (4:56)
9
Empty House Sigh (2:19)
10
Take Your Best Shot (Crowd Goes Wild) (8:02)

簡介。。。。。。
Kira Kira (Kristin Bjork Kristjansdottir) is a founding member of Icelandic art collective Kitchen Motors. For the past 10 years she has tinkered with noises in bands such as Spunk (they did a split 10" with mum way back in 1998), Big band brutal, Storsveit Sigridar Nielsdottur and as Kira Kira since autumn 1999.

'Skotta' is Kira Kira’s debut album. She doesn’t have many instruments, only a few music boxes attached to a pink wooden stick and a nylon string guitar her mom gave her when she was 12. So she sneaks around with a pocket recorder collecting sounds to toy with.

我的碎碎唸。。。。。。評價指數:8.0/10
她也叫bjork,也來自冰島。所以被很多人稱作小bjork,但是她沒有bjork那般很容易唱劈了的嘶吼,而是很細很輕很甜美的聲音,像只小貓,配上丁丁鈴鈴的八音盒聲非常可愛。Skotta是kira kira的首張專輯,裏面充滿了聼上去碎碎的電音,脈衝般的聲音,在這樣的電音之中流淌著旋律,仿佛在聼者身體裏插入了許多的綫纜,然後通入電流,感覺氛圍很科幻,呵呵。
去豆瓣上看看。。。。。。
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Saturday, December 15, 2007

[Tenniscoats|The Ending Theme]窗上的冰淩折射了陽光


Artist:Tenniscoats
Album:The Ending Theme
Release Date:2002-06-22
Label:Midi Creative / Noble
Country:Japan
Genre: Electronic, Pop
Style: Experimental

Tracklisting:

1
In My Blood River (5:25)
2
Red Haired Eric (1:22)
3
Mou Mou Rainbow (5:35)
4
Horses (1:28)
5
Castaneda (6:09)
6
The Sky Is Inhaling The Smoke (0:57)
7
In The Sun (4:18)
8
The Ending Theme (2:59)

簡介。。。。。。
Recently featured as part of the This is our music series in MTV and Swedish Television, we are happy to bring you Japanese lo-fi DIY-pop wonder TENNISCOATS - the best thing since you were a kid, eating icecream on the beach the first day of your summer holiday. As is the case with Maher Shalal Hash Baz, the mentor and spiritual leader of Tenniscoats, this duo is about innocence, trial and error and a deep fascination for ordinary sounds in everyday life, neglected sounds that are forgotten and are revolting as they rise in unison to crave to be fucking big upped! Clickety-rickety-boom-tjoff-clacks made by human activity. The Hummings while you do the dishes sound world (it's vast!).

"The Ending Theme" is this duo's third album. Tenniscoats consist of Saya and Takashi Ueno, who also runs the Majikick label and are members of the great Maher Shalal Hash Baz. Saya does the vocals and keyboards and Takashi Ueno plays the guitar and saxophone.

Tenniscoats is pastoral and nostalgic, innocent and simple melodies, driven by deep strong stoicism based on the powerful sincerity towards music."Tenniscoats"” is Saya-Japanese for "Tennis courts".

我的碎碎唸。。。。。。評價指數:8.3/10
Tenniscoats是由Saya和Takashi Ueno兩個日本人組成的團體,之前還聼過他們今年的新唱片Tan-Tan Theraphy,The Ending Theme是他們的第三張專輯,發行于02年,很久了。Tenniscoats的音樂folktronica外,還很后搖,讓人想起sigur ros,想起mum。不過Tenniscoats的音樂更多的是溫暖與明亮,有著空靈的氛圍、田園詩般的美好與和諧。而且Saya的嗓音親切純淨,像柔和的陽光。The Ending Theme真的很適合在這樣的冬天聆聽哦。
去豆瓣上看看。。。。。。
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[Four Tet|Pause]停格式行進


Artist:Four Tet
Album:Pause
Release Date:2001
Label:Domino Recording Co.
Country:UK
Genre: Electronic
Style: Abstract, Downtempo

Tracklisting:

1
Glue Of The World (5:02)
2
Twenty Three (3:34)
3
Harmony One (1:41)
4
Parks (6:03)
5
Leila Came Round And We Watched A Video (1:39)
6
Untangle (4:36)
7
Everything Is Alright (2:31)
8
No More Mosquitoes (3:39)
9
Tangle (3:44)
10
You Could Ruin My Day (7:03)
11
Hilarious Movie Of The 90's (3:29)

簡介。。。。。。
On his second full-length as Four Tet, producer/mixologist/computer kid Kieran Hebden further f*cks with the notion that turntablism and electronica are essentially "nothing more than" computer music. While it's true that all the rhythms, melodies, and harmonies here are collaged samples combined with turntable wizardry, uninformed listeners would be hard-pressed to find anything but a few drum loops that sound as if they were composed and recorded by a band. For starters, on his opener, "Glue of the World," acoustic guitars, zithers, harps, and string basses wander around a minor-key riff that is augmented by a slip 'n' slide hip-hop rhythm with a sharp, in-your-face, drum-'n'-no-bass interlude. The track is a weave; it blends new age, acoustic jazz, and flamenco music in a golden braid that is heavenly. On "Twenty Three," steel drums, bells, and African and Balinese rhythm instruments open the way for an electric piano and acoustic guitar riff aided by a set of congas and bongos to come charging in DJ Shadow style. Just as the West African folk music theme settles, Hebden kicks it with hip-hop and a front line of trumpets, playing a long, slow, languid melody line, turning it into who knows what, but it's cool. It's also beautiful that there are small interludes of found sounds, like typewriter keys re-sequenced against an electric piano to create nothing but an ambient rhythm track that sounds as much like somebody shuffling things around on a desk as anything else -- until you pay attention. On tracks like "Untangle," where the percussion sounds a little less organic, Hebden demonstrates with flashes and cross-fades how rhythms from all over the world can be unified by the turntablist's skill -- or perhaps by musicians themselves willing to play together, which would be ideal. When the guitars and the bajo sexto kick in with the drums and the loops, it's the freakin' United Nations on stun, kickin' up a grand-style peace whoop. Four Tet's Pause offers more proof that DJ culture still has plenty to offer, and that Keiran Hebden is just getting started in his experimentation with transcultural electronica. Organic as dirt, and full of an acid-head's sense of space, this one's a winner from start to finish.(from AMG)

我的碎碎唸。。。。。。評價指數:8.3/10
這是一張2001的發行了,一點都不新鮮了,還沒有聼過的朋友,可以下載來聼聼。Four tet總是能讓我感覺到周圍很明亮,各種聲音採樣能夠將我的耳朵充分填滿。打字機、蚊子嗡嗡叫、稚嫩的童聲。。。在他的音樂裏匯集,各種拼湊在他的音樂裏就像是雕花玻璃一樣,折射著陽光,呈現著五顔六色讓人目眩神迷的光斑。最令我為之折服的是他能遊刃有餘地使用著東方的、中國的弦樂,而且用得恰到好處,沒有矯揉造作的感覺。這是一張很不錯的唱片,雖然我更喜歡之後的rounds,但是這張也是十分地值得一聼。
去豆瓣上看看。。。。。。
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Thursday, December 13, 2007

[Kuupuu|Tour Musik]歐陸行記


Artist:Kuupuu
Album:Tour Musik
Release Date:2007
Label:Not On Label
Country:Finland
Genre: Electronic, Folk
Style: Abstract, Experimental, Ambient

Tracklisting:

1
Ritva, Elsa, A? (4:39)
2
Hääherne (0:59)
3
Muisti Meni (1:47)
4
Haava (1:52)
5
Yksi Valoista (4:01)
6
Naavahaava (2:40)
7
Yötaivaan (5:39)
8
Koli (2:27)
9
Ukkosen Johdattajat (8:12)

簡介。。。。。。
TOUR MUSIK self released cdr 2007 (sold in gigs only)
Self-released CDr, handmade packaging. All musik by Kuupuu except Hääherne with Kukkiva Poliisi and Ukkosen Johdattajat with Joylaav.
http://www.myspace.com/kuupuu

我的碎碎唸。。。。。。評價指數:8.5/10
我的朋友們都知道我是她的fans,昨天得到這張唱片時真的是高興得要死了。kuupuu最近一張的發行,Self-released CDr。但是很奇怪,我在網上卻找不到關於這張唱片的info。她還是老樣子,還是那麽酷,還是那麽另類,我對她的每張專輯都愛不釋手。
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[Silje Nes|Ames Room]坐在房間喃喃自語


Artist:Silje Nes
Album:Ames Room
Release Date:2007-10
Label:FatCat Records
Country:UK
Genre: Rock
Style: Folk Rock

Tracklisting:

1
Over All (2:13)
2
Drown (2:30)
3
Shapes, Electric (3:36)
4
Ames Room (2:19)
5
Giant Disguise (4:13)
6
Dizzy Street (3:52)
7
Long Shadows Left Around (2:12)
8
Bright Night Morning (3:48)
9
Recurring Dream (3:43)
10
Searching, White (1:46)
11
Magnetic Moments Of Spinning Objects (2:59)
12
Melt (2:43)
13
Escape (3:08)
14
No Bird Can (3:28)

簡介。。。。。。
We first became aware of Norwegian singer-songwriter / multi-instrumentalist Silje Nes through a unique and utterly charming demo we received out of the blue in 2005. Intrigued and enchanted by the quirkily sprawling mixture of instruments, electronics and sweet vocals, we have been regularly talking with her since, with Silje working on and submitting new tracks and slowly piecing this debut album together. Boldly Inventive and broad-visioned, 'Ames Room' announces the emergence of a hugely talented and distinctive young artist. With the sole exception of the opening track - written and recorded with Kristian Stockhaus from Ungdomskulen - the entirety of the album is Silje's own work and sounds like someone clearly reveling in the act of creation.

Entirely home-recorded, the album gathers together material created between Autumn 2004 and Summer 2007. Attesting to the primacy of the recording process, the songs were actually written as they were recorded. Silje notes the importance of this presence that comes from recording spontaneously, with all its imperfections. "It's the recording that I enjoy, and I can't separate that from the songwriting." Whilst the early recordings were largely instrumental (often wordlessly using her voice as an extra instrument) and more heavily electronic, over the past year her lyrics and vocal have come increasingly to the fore, as has the use of guitar and drums. Gentle and wispily imbuing songs with an almost childlike sense of wonder and awe, Silje's voice is breathy and beautifully measured, calmly sitting at the centre of the webs she spins like some playful, benevolent animating spirit.

Whilst creating a sound-world entirely her own, 'Ames Room' shows a similar single-mindedness and (autodidactic) adventurousness to fellow peers like Tujiko Noriko, Islaja, Lau Nau, Eglantine Gouzy, Foehn, or Leila Arab, also sharing something of the homespun, sprawling beauty of the likes of The Pastels, Pram, or Crescent. Beautifully pieced together, tracks unfurl like a series of intricate constructions, or like some kind of strange blown-up world of insects or curious creatures - the whole teeming with life and a great sense of fun.Broad ranging and full of character, the album moves from languid dream-pop to stomping, upbeat tracks, to more introspective or abstract numbers. With sparkling melodies at times exuding a music-box sweetness, spindly electronics - barbed, bubbling, and tinkling - weave around a vast array of instruments including cello, electronics, drums, guitar, bass, keyboards, recorder,glockenspiel, xylophone, melodica, and trumpet, as well as percussion played on all manner of found objects. Playful rhythms increasingly accumulate, with machine programming cohering alongside layered live syncopations.

Silje grew up in the tiny town of Leikanger, in Sognefjord, the largest fjord in Norway, before moving to the rainy, larger town of Bergen in 2000. She began making her own music in 2001, recording on 4-track demo software through a tiny inbuilt microphone on a laptop. Though sheÆd previously studied classical piano, when she started recording she decided to do so with guitars and instruments on which she had no previous experience of playing. Simply guided by finding sounds she loved and the excitement of discovering new instruments without learned conventions, she made use of whatever equipment she could get hold of - guitars and an old synth, a cello, a drum kit, a laptop, as well as loop pedals to build layers of her own playing. Little by little she also found ways of including her own voice in the mix, both as texture and song, and her music has organically evolved from there. Although she made a successful live debut outside of Norway with a set at FatCat's 'Open Circuit' festival in Belgium in February this year, during this period Silje has played her songs for just a very few people locally.

At that Belgian show, she did everything herself and it was mesmerizing to watch - gradually building loops on a loop-station through guitar picking, singing, playing a drum kit and other percussion (tambourine, glass bottle, etc) and a xylophone, sometimes being accompanied by a little robot that was beating a kick drum.

我的碎碎唸。。。。。。評價指數:7.8/10

Silje Nes的聲音很清新很柔美,唱得很輕,來自挪威。我以前不知道她,看到這張CD的cover才把它收回來的,上面關於她的介紹說得比較詳細了。聼她的演唱你會感覺像有個小姑娘在耳邊說悄悄話似的,向你吐露她的心事,一張可愛的唱片。而Searching, White中她也展現了她的另一面,很酷很冷靜的一面。但也許是實在太輕,縂覺得沒什麽波瀾,縂感覺提不太起精神。
去豆瓣上看看。。。。。。
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[Es|A Love Cycle]轉經、輪回、盼望


Artist:Es
Album:A Love Cycle
Release Date:2006
Label:Fonal Records
Country:Finland
Genre: Electronic
Style: Leftfield, Experimental, Ambient

Tracklisting:

1
Suuri Höyhen (7:07)
2
A Love Cycle (12:06)
3
Les Fleurs Sont Des Bonnes Auditrices (4:29)

Vocals [Humming] - Elissa Määttänen
4
We Make Holes In The Heart To Break Universe Apart (13:19)
5
Twenty-Five Twenty-Five (3:03)
6
She Puts Out The Fire In Her Heart With Her Tears (11:54)

簡介。。。。。。
Sami Sänpäkkilä, owner and curator of the phenomenal Fonal label, has managed to attract a great deal of interest in his work over the last couple of years. Peaking with the frankly unmissable vinyl-only ‘Sateenkaarisuudelma’ album on Kraak, the Finnish musician drew people into his world of crackling vinyl, distant piano and half-sung Finnish nursery rhymes. ‘A Love Cycle’ was originally released in 2001 and is the second Es album, but to beef up this re-issue a little Sänpäkkilä has added an extra track, the gorgeous ‘Suuri Hoyhen’ which appeared on a Kraak compilation/sampler also in 2001. It’s been out of press for far too long now, and since interest had grown in Sänpäkkilä’s works significantly recently, it seems like the perfect time to fashion a reissue! Surprisingly given the dubious longevity of experimental/electronic music the disc still sounds as fresh as ever; the album was put together almost entirely using three cheap flea-market turntables and a pile of decaying vinyl, so Philip Jeck and Christian Marclay are obviously going to come in handy as reference points, but Sänpäkkilä injects his own personality into the noisy loops and crackle. His homespun aesthetic is as present here as on his choice of releases for Fonal, beautiful ethereal humming erupts over bassy rumbles and disconcerting static while distortion cracks and crumbles overhead. I suppose many would describe Es as ‘ambient’ music, but there is more going on here than may at first reveal itself, the layers need peeling away slowly on repeated listens before you achieve maximum enjoyment. Within these loops rest hidden glimpses of love, love for music, for art, for the process itself, and that’s what makes Sami Sänpäkkilä’s work just so damn involving. A huge recommendation and an essential part of the Fonal catalogue.

我的碎碎唸。。。。。。評價指數:8.2/10
重復,不斷地重復。輪回,永恒地輪回。A Love Cycle就在這樣的重復中進行,但是我對它卻比對Flick更加喜愛。它是一個循環、一個周而復始的生命。尤其是Les Fleurs Sont Des Bonnes Auditrices深邃的鋼琴和Elissa Määttänen的輕輕哼唱交織的時候,我仿佛觸摸到了歷史與希望。這個女子的聲音純淨、自然,曾多次在Es的唱片中出現,還有就是我很喜歡其中那感覺非常Lo-fi的老式錄音帶的沙沙聲。五年前的Fonal曾發行過這張唱片,06年的這張是再版,區別就是多了一個bonus track,也就是第一曲Suuri Höyhen。
去豆瓣上看看。。。。。。
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