UrthónaD'Mors的音乐

音乐总是最难描写的，像最微妙的情绪一旦为之命名它就会转换为异己或者贬值成老套。音符也不例外，唯一能做的也仅仅是堆砌辞藻去做雕琢隐喻，希望在一切词语中某个词碰巧暗示了音乐和我们对音乐的反应。但即便是这样我还是要来堆砌下早已贫乏的辞藻来赞美这张专辑的奇妙之处。 专辑中旧唱片机的采样附着随性弹奏的faded piano的音符伴着空旷效果和带有灰尘质感的采样以及特有的1920s ballroom ambient music使得时光还有那种逐渐衰退感回荡其中，与现实中繁忙残酷的世界形成鲜明对比。听这张专辑有种被安抚的奇异之感，就好比回到了童年的时光找回了部分已经缺失的记忆，打开了一扇尘封已久的门，时间静止，时光倒流。仿佛踩在斑驳无光泽吱呀呀的地板上.....屋内的阳光正好照在屋角落灰结网的旧唱片机上而灰尘折射出来的光影洒在已经破旧的钢琴上。相信任何对“old time” 音乐有兴趣的朋友肯定也会爱上这张专辑的。

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Stanley Kubrick’s ‘The Shining’ (based on the novel by Stephen King) is an epic masterpiece of the film history. As Kubrick has also been famous for his exquisite selection of music pieces to be used in his movies it is not astounding that he also inspired a lot of musicians. ‘Persistent Repetition of Phrases’ by The Caretaker is one of these album works being inspired by the Ballroom Scene from ‘The Shining’. The album stands outside all the boxes that are used much too often to categorize music. Based on tapes and maybe vinyls containing dance music of the 30s, 40s (I suppose) this album works likewise with alienating and sampling methods. With these techniques Leyland Kirby (who also creates music under his name) tries to reproduce the atmosphere of the Ballroom Scene and he definitely succeeds. It’s a massive experience listening to this album carefully. ‘Peristent Repetiton of Phrases’ starts with the wonderful ‘Lacunar Amnesia’, a piece which seems to be drowned in reverb. Like the following tracks it’s a piano-based piece repeating a melodic phrase again and again, just textured through vinyl crackles or hiss, sometimes even both. ‘Long Term’ is the first more orchestral piece and it definitely reminds me of ‘Somewhere over the Rainbow’. ‘False Memory Syndrome’ and ‘Von Renstorff Effect’ are pieces playing an old record of a ballroom combo, drowned in effects again but still well-defined in a very special way. That’s the most impressive thing about this album by the way: although it’s full of crackles, hiss, reverb, delay, filters it’s so well-defined, a stunning bass full of warmth, everything seems to sit perfectly in the mix. And this is exactly why it’s such a massive experience and a wonderful reproduction of the Ballroom Scene from ‘The Shining’. The stunning ‘Unmasking Alzheimer’s’ completes the album. Originally written for fieldrotation

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邪恶仙女她们的音乐更加偏向神秘奇幻主义的中世纪暗潮音乐。 他们的专辑Krataia Asterope (or: Κραταια Αστεροπη), 寓意Great Lightning。 听着这张专辑，脑海中就会浮现出一幕幕具有仪式感的画面，犹如时光倒流，仿佛置身在远古在电光与雷雨交加的夜晚；在中古的雅典奥林匹亚。那里有着一群如同祭司一样占卜凶吉，预言未来，探索者远古神话和永恒之躯的智者。 乐队除了使用了希腊传统乐器七弦琴和齐特琴之外，还加入了相当多的非典型民族乐器，如：风笛、曼陀铃、手铃和坦布拉琴等。这样的加入使本就很神秘的音乐又添了几分萦绕的飘渺和中古幽思。 Divine Goddess Of Fertility中的女生吟唱犹如Ataraxia女主唱的嗓音一般，声音时而轻盈飘渺时而低廻，而配器也是宏大并具有一定的悲怆之感叫听者动容的一曲。 To Goddess Mnemosyne一曲，由漫不经心的大鼓和坦布拉琴开始，浑厚低沉的男声与低音如同咒语一般的女声交织出一曲记忆女神之歌。 Hymenaios这曲，由响彻的风笛开始，加入了男女吟唱和儿童声音的人声采样，更显古希腊时期婚嫁仪式的庄重与神圣。 Sirens of Ulysses，这一曲本就带有神话色彩的歌曲，如同曲名一般，主唱的声音也好似siren这妖妇一般极尽诱惑，索特里尔琴的加入更添飘渺如水之感，仿佛置身于迷雾之中，被仙音所迷惑失去了方向感。 Nocturnal Hekate 男女声的混唱，低沉却叫人印象深刻的声音加上鼓点营造出如同魔法阵一般的仪式感 和沉重感。也好似Hekate这个神邸一般带有死灵、魔法却神秘不可见的。 Krataia Asterope这曲，两个男声的对唱犹如智者的问答，而合唱部分和乐器的伴奏，也如雷鸣一般宏大不可侵犯。 但这美好的事物总是如此短暂，36分钟就在这臆想和品味中结束了，我们也只能在歌曲中去追思那消失在历史中的优雅和神秘了。

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今年大多数艺人，乐队都开始走流行电音的路线，恨不得每首曲子都有电死你的架势，当然爱凑热闹的B.E.P也不例外。 其实个人还是比较偏好走hip-hop路线的B.E.P。从去年开始走了流行电音的B.E.P就开始让我接受不能了，原因是我认为做成这样的流行电子是一种妥协一种流程化的象征。他们做的音乐都是千篇一律或是似曾相识的感觉，没什么技术的电子加上点动感节奏和不痛不痒的歌词一首又一首流行的口水歌就这样出来了。这样的音乐绝对算得上是一种亚文化的产物，与其说是向对电子舞曲时代致敬，倒不如说是跟风潮罢了。这张专辑不仅没让他们原有的优势发挥出来，而且还暴露出了缺乏灵感的强弩之势。fergie性感的好声线没有了，变得平平无特色。will.i.am、apl.de.ap和Taboo的声音辨识度低不说，之前饶舌的功夫好似全部消失一般。整张专辑听下来既没有欧洲电子的那种大气也没有太多十分出彩的歌曲，听的我是一头的雾水啊~！只能说黑眼豆豆老矣，需要重新充电再战乐坛吧！~

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