杀戮都市上空的朗诵
A Japanese post-rock noise outfit in the same vein as genre legends the Boredoms, Envy released their first album, Breathing and Dying In This Place in 1996. Made up of members Tetsuya Fukagawa (vocals/programming), Nobukata Kawai (guitar), Manabu Nakagawa (bass), Dairoku Seki (drums), and Masahiro Tobita (guitar), Envy released 8 albums over the course of ten years, and were signed to two labels, Rock Action in Europe and Temporary Residence in America. In 2007, the band released the mini-album Abyssal and the DVD Transfovista
seamlessly blending every “post-” genre into one package, Tokyo’s Envy continue to amaze and innovate on Recitation. The thing that immediately stands out on the album is the patient composition of the songs, allowing them to slowly work themselves into a crescendo without ever rushing things, giving the songs a “best things come to those who wait” kind of feeling. For the impatient, all of this building can seem a bit tedious, but as Recitation unfolds, songs like “Last Hours of Eternity” and “Light and Solitude” show again and again that listeners are in capable hands as they slowly make their way to the seven-minute mark. The high point of the album comes during “0 and 1,” which plays out like a study in measured contrast as the song ebbs and flows from sparse, reverb-heavy guitar to crashing doom and back again. With the push and pull accentuating the best qualities of both parts, the quieter moments feel exceptionally plaintive and lonely while the heavier moments become absolutely devastating, hitting like a musical sucker punch to the gut, lulling you into a false sense of security before knocking the wind out of you. Recitation is one of those records that cannot be rushed, but instead must be experienced on its own terms, and anyone who’s able to relinquish control and let Envy steer for a while will be rewarded. ~ Gregory Heaney, Rovi
seamlessly blending every “post-” genre into one package, Tokyo’s Envy continue to amaze and innovate on Recitation. The thing that immediately stands out on the album is the patient composition of the songs, allowing them to slowly work themselves into a crescendo without ever rushing things, giving the songs a “best things come to those who wait” kind of feeling. For the impatient, all of this building can seem a bit tedious, but as Recitation unfolds, songs like “Last Hours of Eternity” and “Light and Solitude” show again and again that listeners are in capable hands as they slowly make their way to the seven-minute mark. The high point of the album comes during “0 and 1,” which plays out like a study in measured contrast as the song ebbs and flows from sparse, reverb-heavy guitar to crashing doom and back again. With the push and pull accentuating the best qualities of both parts, the quieter moments feel exceptionally plaintive and lonely while the heavier moments become absolutely devastating, hitting like a musical sucker punch to the gut, lulling you into a false sense of security before knocking the wind out of you. Recitation is one of those records that cannot be rushed, but instead must be experienced on its own terms, and anyone who’s able to relinquish control and let Envy steer for a while will be rewarded. ~ Gregory Heaney, Rovi
