SEAN的音乐

By lojun, July 22, 2010 At the Gates of Hell LABEL: Lona Records LANGUAGE: 英語 (English) RELEASE DATE: 2010-01-16 RATING: 8.1 After what has been a long 6 years since their previous release, Nasty Fantasy in 2004. Hong Kong Shoegazers UNiXX are back with an even darker release than the aforementioned record. The release, aptly titled 7 Deadly Sins could be compared as being the musical equivalent to the famous The Gates of Hell sculpture by French artist Auguste Rodin. The Gates of Hell, which could arguably be called Rodin’s life’s work, is based on the Inferno section of Dante Alighieri’s Divine Comedy and depicts the protagonist Dantes decent into the circles of Hell. In Dante Alighieri’s work, Hell is a place that is filled with sinners that are forever tormented for the sins they have committed (ie, Lust, Gluttony, Violence…etc). In Rodins work this torment in Hell is re-imagined in detail upon the bronze surface of his sculpture. Similarly, 7 Deadly Sins is its own depiction of Hell in music form — a detailed account that is filled with dark ambiances and multi-layered textures that encourages repeated listens to discover all the musical nuances. The album starts off with “Wasted”, which is an old track off of Nasty Fantasy. Though the song has not undergone much change, it fits with the dark mood of the record and acts as a good opening. “Love Is Only For The Strange” is next and starts on an exotic sounding guitar riff that gives way to singer Sean P. Yung’s distinct feminine wails. Alongside Sean’s voice are pulsating bass lines, mechanical drums and distorted guitar drones. The elements in this track make up the core of UNiXX’s sound — an eerie caustic form of rock that is both familiar and distinct. Like taking the best parts from early Shoegaze and Post-punk bands such as Jesus and the Mary Chain or Ride, UNiXX takes these influences and crafts them into something that is distinctly theirs. The result is a tortured sound that is fitting of the albums title. Other notable tracks include “Burnout”, which features a menacing guitar riffs that conjures up images of tormented souls screaming for redemption in the pits of Hell. Or the ghostly minimal soundscapes of the title track “7 Deadly Sins”, which would not sound out of place in a horror movie. Rounding up the album is a remix of Black Shadow done by local sound artist, Alok. The track is a dark EBM remix in the vein of the works from Front 242 or Throbbing Gristles, and takes the original track from Nasty Fantasy and makes it even more menacing sounding — a fitting ending for a menacing release. 原文 http://bitetone.com/2010/07/22/cd-review-unixx-7-deadly-sins-2010/

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UNiXX - 7 DEADLY SINS - MCB音乐殖民地碟评 Text : 袁智聪 Post Date : 2010-02-17 以Sean Yung为首的UNiXX发表其首张专辑《Nasty Fantasy》已是2004年的事，换句话说这张《7 Deadly Sins》乃他们足足阔别六年来的新作，算是这队香港独立乐团的回归吧——当然，专辑内〈Waste〉、〈Perfect Betrayer〉等歌曲亦早于在五年前开始作公演，所以《7 Deadly Sins》就是UNiXX过去五、六年的总结而多于回归吧。 当年《Nasty Fantasy》面世时，UNiXX的团员仍处于不稳定的状态，灌唱片时是三人乐团姿态，到唱片面世时又再改组成四人阵营。近年他们的阵容亦稳定得多了，因此UNiXX在《7 Deadly Sins》内亦能够更深化乐团的声音。 以往UNiXX所予人的印象都是师承着Shoegaze、Britpop、Grunge等90年代摇滚风骨而来，今天在《7 Deadly Sins》里其90年代音乐气味盎然，但却处理得更驾轻就熟而呈现出演奏上的深度感，更为彰显黑暗的氛围与感染力。录音上亦固然是一大进步，不再是《Nasty Fantasy》时期所流于粗糙且单薄的音质。 由迷蒙结他声引领出的开场曲〈Waste〉，已彷佛把我们带回90年代初叶的英伦新迷幻之音纪元，Sean的嗓音唱出一片妖魅与沉溺。〈Perfect Betrayer〉实在不禁叫我联想的The Verve在〈All In The Mind〉那份迷幻张力，同样地〈Diminishing Memories〉的深潜迷幻气氛亦与早年The Verve的曲风有着异曲同工之妙。 奏出此起彼落结他噪音Droning的Shoegaze曲目，今次有〈Dead Man Walking〉 和〈Burnout〉这两曲，两者都同是有着令人怦然心动的美丽曲调、如斯感人的Shoegaze歌曲。孤绝凄婉的〈Shut It〉是UNiXX演出时常用上的开场曲，全曲只有”It’s all unfair so we shout it out / If you don’t care please shut it / Shut it up now! / Please shut it up / Please shut it up now!”这五句歌词，唱出不是孤绝的心情，而是UNiXX最具政治味的歌曲。 主题曲〈7 Deadly Sins〉是一首纯音乐曲目，好比Massive Attack的节奏遇上凄美而扑朔迷离的神秘氛围，相当之慑人心魄的意境化乐章。 专辑用作体轴，是A Roller Control的Alok为《Nasty Fantasy》的开场曲〈Black Shadow〉制作的Remix版，迷幻Shoegaze不再，换来是一首由高压而肮脏Bassline驱动的Electro Rock歌曲。90年代初的英伦独立乐队，从Madchester到Shoegaze的，那都不是流行为歌曲制作Remix吗？ 原文 : http://www.mcb.com.hk/online2/article/article.php?did=3&aid=658

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UNiXX NASTY FANTASY (89268) Text : 袁智聪 Post Date : 2004-12-31 纵然UNiXX 这支本地独立乐队组成了只有三年多时间，但其实阵中成员已在圈中活跃了好一段日子。 乐队自2001年成立至今，UNiXX 屡次有成员进进出出（第一代成员包括有前Elf Fatima的Vivio）。所以他们这张处男专辑Nasty Fantasy即使是以三人乐团的姿态灌录，然而现在UNiXX 又刚再改组成四人乐队了。 「简单是最好与不朽的」是UNiXX 的音乐创作大前提，所以他们的和弦採用，也尽量以简单直接为己任。Post-Punk、Shoegazer、Britpop、Grunge都是他们背后的音乐影响，从而再将之融入UNiXX 的音乐世界裡。 UNiXX 的Indie Rock歌曲每每被巨大的结他音牆包围着而来，歌手Sean在嗓音间所蛰伏着点点妖气，令我想到从前的Brett Anderson（Suede）与Brian Molko（Placebo），当然他演绎出来则青涩得多。 Since The Day She Gone明显地他们想打造出一首The Cure式爽朗Post-Punk歌曲，Hypocrite更彰显出Gothic的病鬱迷幻底蕴。想不到他们也可以有Always这样的Lullaby式Ambient歌曲，再听其Acoustic Ballad曲目Who Knows，可见他们能做到刚柔并重。 (原文刊于《F&B+》 现经重新修改) http://www.mcb.com.hk/online2/article/article.php?did=3&aid=26

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文：林京贤 UNiXX这支摇滚乐团，一直是本地英伦摇滚乐的翘楚。前身Nameless，经过多番人事变更，后在2001年重组成为UNiXX，并于2004年推出了首张专辑《Nasty Fantasy》。《Nasty Fantasy》将UNiXX的英伦遗风完全呈现了出来。由主唱的中性化声线，简洁的编曲手法，到氛围上的黑暗深邃，使《Nasty Fantasy》成为本地英伦摇滚乐的一张经典作品。 睽违五年，再经过几次的成员更替，UNiXX终于在本年度推出了第二只专辑《7 Deadly Sins》。唱片明显比《Nasty Fantasy》的编曲复杂。如果说上一作是靠拢英伦摇滚的风格，这张则明显是走向Shoegaze、Noise和Post-punk的新时代曲风。 先行曲目〈Wasted〉开首先混进了不少电子琴键和合成效果，其结他也不再是由简单的和弦刷扣组成，双结他手令曲目的层次变得厚实。其突发的结他音墙，亦渗入了不少Noise rock的风格。 〈Love is Only For The Stranger〉前段的鼓点，让人不禁想起The Cure早期的音乐；到后段结他倏地紧凑起来，加上主唱内省的声线，不断重复念唱同一段落，使曲目散发出一阵浓浓的药香味。 〈Perfect Betrayer〉这支曲目是比较跳脱的作品。曲目运用了许多的合成器，结他的独奏部分也比其他的曲目为多。然而主唱的唱腔却没有之前两首的压抑，类似于上张唱片的妖气，算是比较贴近传统英伦乐的作品。 　整张专辑里面，最讨笔者喜的一定是〈Dead Man Walking〉。澎湃的结他音墙，带动整支曲目的情绪；双结他的交织，使气氛一次又一次地泛高叠起。 点题作〈7 Deadly Sins〉是一首Ambient作品，彷佛是上一作〈Always〉的延续。〈Burn Out〉则令人耳目一新，从来没想到UNiXX可以这样地Shoegaze。〈Vanish〉则回复常态，一股糜烂颓废的气息，彷佛是我们以前认识的那支UNiXX。 　置于最后一曲的〈Black Shadow〉是本地电音单位Alok的remix版本。本来是《Nasty Fantasy》的曲目，经Alok操刀重制后，邪气有增无减；远想不到，UNiXX的曲目竟然也可以放诸于舞池之上。 香港文汇报 http://trans.wenweipo.com/gb/paper.wenweipo.com/2009/12/27/BH0912270013.htm

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