Amiko Li的音乐

在很多人眼里她只是一个现场车祸的整容女歌手 我却很喜欢她 她很美 她的高雅和慵懒仿佛是至于凡人之上的云雾缭绕之中 封面中的Lana神情里似乎有一丝肃穆 一丝不苟的发型和简单却又气质的白衬衫 专辑名字Born To Die也注定了这是一张不简单的专辑 和其他二十多岁的新出道女歌手不同 她刻意压低的嗓音和模仿二三十年代的意图似乎就是她对于和其他人区别的标识 歌曲方面她细腻地写道了歌舞升平的好莱坞 海边戏剧化的悲伤 挥霍不尽的青春和财富 年轻而泛滥的伤口和嬉笑 美国梦和稚嫩的困惑 具体到详细的歌曲Carmen 歌词着实是专辑里最出彩的 青少年特有的困惑和问题在这首歌里体现得淋漓尽致 她对于在洛杉矶好莱坞成批成批制造的玩偶一般年轻混沌尽情挥霍着自己美貌的少女说“趁她还美丽闪耀的时候 买下她吧” 又冷漠地在This Is What Makes Us Girls承认哭也没有用女生才不会团结一致 连天堂对于我们来说也不在乎为了爱我们谁都会出卖 在Off to the Races中更是大方地讲述了一个在抛弃成熟稳重的男性和年轻新欢在赌场一掷千金的香艳故事 她仿佛是集合了所有二三十年代那些老电影一般 永远有那么精彩又深刻的方式讲述着她的故事 整张专辑毫无疑问Lana被她自己雕琢成了一个优雅又坏坏的富家千金形象 她有消耗不完的金钱和时间 但是却一直困于无聊和找不到自己理想中那让她愿意付出一切的冒险 不能让她伤心让她流泪 不能对她撒谎背叛 她的一切陈述都是那么的不容置疑 连心碎在她的嗓音里也是如此的凄美

> 0回应

豆瓣音乐人页面 提供试听 与 下载 http://site.douban.com/amicole 115 网盘下载 http://u.11去掉5.com/file/aqzuwj9z ENJOY :)

> 3回应

How many whimsical electro-folk chanteuses does it take to change a musical landscape? One tempting answer is 'probably fewer than we’ve seen emerge in recent years', but then again, an embarrassment of riches was never a particularly upsetting problem. Genre fans may find themselves having to bulk-order more Ikea shelving as the Noughties bleep coquettishly to a close, but there always seems to be just enough room for the next emergent heroine of quirk: sweeping generalisation it may be (and is), but the quality of this country’s female-masterminded homebrew scene does appear to have been stuck on an alarmingly protracted high for some time now. Essex-born doyenne-in-waiting Polly Scattergood has certainly put in the legwork over the last couple of years, maintaining a hummingbird-like presence on the usual social networking suspects as she tirelessly tweets, vlogs and Audioboos her nascent alt.pop career and its faintly unsettling air of inevitability. In fact, the Bunny Club EP is presumably the least labour-intensive thing she’s put her name to so far, simply because it’s actually a fistful of remixes and demos from last March’s self-titled label debut. (She doubtless took the portrait snap on the cover herself though, or made all the jewel cases out of old cereal boxes. Something along those lines.) As one of Scattergood’s recent blogs confessed, the reason for Andy Chatterley and Nerina Pallot’s re-jigging of the title track here was to ‘make it sound more like a single’. It’s worked: their washes of spacey cymbals and digital glitter conspire to oil up a darkly twisted vignette of grimy glamour in the capital (“Searching for my saviour at the bottom of a packet of tobacco / But with me they take one look and they run / I’ve got a dog and a gun, and I’m living in London now”), resulting in a much more mellifluous four-minute lullaby than the original offered. ‘Unforgiving Arms’ also gets the ‘single mix’ treatment, although it remains a more stubbornly plodding ditty, packing few surprises beyond a sinister spoken intro about weather girls and licking up crumbs. Still, a rubbery sine wave motif gives it some much-needed strut in the pre-chorus, and just about keeps the engine running for the duration. Much more rewarding, though, is an Analogue Suicide reworking of live favourite ‘Nitrogen Pink’, delivered by highly vocal Scattergood fan Tara Busch. Where the album version’s eccentric combination of fizz and falsetto provoke Kate Bush comparisons before anything else, Busch-with-a-c rips every ounce of puppy fat from its bones and instead grafts on a faintly monstrous layer of scales, feathers and armour in its place. Suddenly, we’re veering giddily over Björk territory, and becoming aware of a previously hidden string to Scattergood’s DIY sticks-and-twine bow. ‘Please Don’t Touch’ and ‘Nitrogen Pink’ (again) each make a stripped-down acoustic appearance to wrap things up; each does an endearing job of showcasing the author’s tremulously intimate imperfections, but they’re more effective as palate-cleansers after the sensual smorgasbord of that stand-out Analogue Suicide centrepiece than anything else. Being something of a placeholder release was always going to be an accusation you could level at the Bunny Club EP: it's a reasonably lightweight package by any standards, but in Scattergood’s defence, it doesn’t really feel as though it’s intended to be much more than that. Scattergood is still an artist finding her feet, winning fans through a well-judged combination of hard graft and zeitgeist-happy accessibility, and she remains one to watch as this most capricious of musical decades makes way for double figures. On this evidence, Polly’s already more than willing to mess with her own formula, and that promises some real intrigue for the future.

> 5回应

我不得不说彼女这张专辑是我最喜欢的aiko。 尽管分别在彼女前后分别与2006和2010年发行的两张“夢の中のまっすぐな道”和“BABY”也是很有水准的作品，但是彼女这张确实将aiko那种细巧美贯穿了整张专辑。 封面上的aiko捋着头发眺望着远处，同样是亚洲人我觉得aiko在很多想法真是特别细腻很可爱。包办了整张专辑词曲的aiko就是这样的邻家女孩，给人的感觉特别亲切但又有着很多特别而又文艺想法的她让她显得更加美丽。 开头的シャッター和以前的aiko没什么区别，欢快的曲风想象的出来aiko无忧无虑蹦蹦跳跳的样子，紧接而来的第二首気付かないように是我偏爱的抒情风格。歌词里弥漫着独特的aiko的风格,"勇気を出して笑って问いかけた (鼓起勇气笑著问你), 今の事 今の彼女 (现在的事 现在的女朋友), すごく好きだよと照れて髪を触る (你害羞地摸著头发说非常爱她), 昔のあなたを见た(让我看到了昔日的你)"。从陌生到相识，再从恋爱中的人演变成在街上偶遇的陌生人。aiko敏锐地写下那些我们内心深处的想法和句子。 酸涩的少女独有的情愫宛如夏天发酵着泡沫的苏打汽水一般，而在深海冷藏库这个怪怪的名字下，她浅浅的唱到，“日曜日も☆のﾘﾝｸﾞも22日も青い空も长袖も家の键も笑った目も梦のﾀﾞﾝｽも（无论是星期天、☆形的戒指、22号、青空、长袖、家裏的钥匙、笑着的眼睛、梦的舞蹈），あなたの优しい所 温度と共に苏る（你的温柔 与温度一起苏醒），冷たい床と暖かい冷蔵库にもたれて眠る （依偎着冰冷的床和温暖的冷藏库而眠）”。看了就觉得怎么会这么写呢，真的是非常非常夏天的歌词啊，我甚至都能感受得到迎面而来的热风和冰镇西瓜的清爽香气。 抒情慢歌方面，这张专辑我最喜欢スター和瞳。スター作为翡翠森林的主题曲和整部电影的气氛很符合（这部电影也是我看一次哭一次，电影中羊咩说“生命中，认识你这样的朋友，我觉得真的很幸福。就算要我为你牺牲生命我也觉得值得。”“我没有想过我们俩谁能够活下去，或者是一起死掉…重点是，不管结果怎样，如果我们以后不能够在一起谈心，那才是我最痛苦的事。”“我想生命总有消逝的一天，可是我跟你共享过的日子是永远都不会消失的，对不对？“我真是哭了好久）非常推荐一听，听了之后会有治愈的感觉。 而瞳作为整张专辑的ending song从选题上来说就很特别，这并不是一首关于爱情的歌，但它却给予了我们人生的启示。这首歌是aiko写给朋友的宝宝的，”そしていつかは必ず访れる 胸を体を头を心をもがれるような 别れの日も来る そんなときにもきっと爱する人がそばにいるでしょう “（然后哪天终会到访的 让胸口．身体、头脑和心灵纠结在一起的 离别之日也将来临 在那时候心爱的人一定也会在身旁吧）坦白说我曾经是非常惧怕死亡的人，对于终将来临的灭亡我曾经希望哪怕做一具无法行动却能思考的干尸也不想和这个可爱的世界告别。但是aiko告诉我说，那天来临的时候，倘若心爱的人陪伴在自己身边也会是美好的事。我就释怀了，没错啊，如同蜉蝣或是萤之光一样短暂的生命也可以很精彩，更何况我已经有那么多那么多美好的回忆陪伴着我。 喝着芒果味道的酸奶是幸福，看过一次夕阳也是幸福 被爱过也体会过初吻的清涩是幸福，最终不留遗憾的离开是幸福， 能听着aiko是幸福，她老不老或者我是否已经灭亡变成尘埃这一点都不重要。 我经历的这些回忆，哪怕当事人忘记了，我也老的痴呆了完全忘记了但那些回忆却确确实实存在着。尽管没有无聊的史册会记录那些事情，那时候刚刚认识aiko的兴奋和感动，第一次为喜欢的人写老套的情书，它们都在那里微弱的发光。

> 8回应