Wednesday, December 05, 2007

[Hans Appelqvist|Sifantin Och Mörkret]童聲稚語,夢幻般的王國

Artist:Hans Appelqvist
Album:Sifantin Och Mörkret
Release Date:2007-05-08
Genre: Electronic, Pop
Style: Experimental


Wanxian (2:10)
Tänk Att Himlens Alla Stjärnor (3:21)
Mormas Fågel (0:57)
Freckenåges Spa (2:35)
Tiggången (1:05)
Skundgässhallen (1:25)
Sju I Tre (1:06)
Jag En Gök (3:31)
Tilli Talli Tulli (1:06)
Full The Moon (3:04)
Iestapiona (1:09)
Talkijangnas Akt (3:06)

This is the fourth full-length release for Sweden's Hans Appelqvist, his third for the Häpna label. Hot on the heels of his last record Naima, released in November 2006, Hans has a new album ready, entitled Sifantin och mörkret, containing 12 new tracks and a beautiful video for "Tänk att himlens alla stjärnor," made by Andreas Nilsson (The Knife, José Gonzales and The Soundtrack Of Our Lives). The music shows Hans from a new side, the album being more open and spontaneous than previous works. Animal noises, doors creaking, children shouting, delicate acoustic guitar, and rollicking instrumentals, Sifantin och mörkret is a patchwork symphony. It oscillates between the sweet and grotesque, the nice and the ugly, harmony and terror, light and darkness. As Appelqvist lyrically proclaims, "Me, a cuckoo. Of all the great things in Africa my eyes have met, one I can never forget. On the savannah a rhinoceros stood proudly, gazing in the distance. Its belly ripped open in battle with the one that always wants more."

Appelqvist mainly derives his particular form of musical story telling from feature film, where the music is paralleling the story so as to amplify it or comment it. It is in this form, where sound and image converge, that Appelqvist is conducting his search for unexpected emotional expressions.

Appelqvist’s music infuses the debate on the musical qualities of music. The newness of his acoustic image, where the choice of sounds are not always evident or natural in their context, makes the listener react, certain musical nuances might generate strong emotions while others leaves the listener indifferent. The same is true for Appelqvist’s scheme of using untrained, hand-picked voices, a device which by many might be construed as provocative. It raises the question of whether we are actually listening to music and/or taking part in a staging. The crude voices are intimately interlinked through the underlying narrative and bring a dimension of agitation on top of the melancholy and suggestive coulisse of sound.

I love this video.Hans Appelqvist在這張唱片中,創造了一個豐富的幻想世界,擁有豐富的聲音。這位帥哥很擅長用音樂和各種聲響營造可愛的故事情節。他的音樂像行雲流水一般,很靈動。他的吉他精致細膩,嗓音也很好聽、很溫柔。我正在探究Talkijangnas akt這首歌的原作是出自哪裏,貌似世界人民都知道這首歌謠。除此之外,我對他優美樂曲以外的各種採樣也很感興趣。犬吠、鳥鳴、雷聲、野獸的吼叫、蒼蠅的嗡嗡聲······尤其是那個小孩子的聲音,實在是太太太可愛了!!!我聽到他的時候總是想笑。我想心情再糟糕、再煩躁的人,聼了這樣一張唱片也會變得很平和。

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