Spectacular of Passages (豆瓣)

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表演者: Samara Lubelski
流派: 流行
专辑类型: 专辑
介质: Audio CD
发行时间: 2005-11-22
出版者: The Social Registry
唱片数: 1
条形码: 0656605702223

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　　Spectacular Of Passages begins where her last record The Fleeting Skies left off; with Samara tending the pastures of psychedelic pop with a host of cohabitators along side. In addition to founding the legendary trio Hall Of Fame Samara has also played with Metabolismus, Tower Recordings & Salmon Skin, has collaborated with Sonora Pine, White Magic, Jackie O-Motherfucker and ... (展开全部) 　　Spectacular Of Passages begins where her last record The Fleeting Skies left off; with Samara tending the pastures of psychedelic pop with a host of cohabitators along side. In addition to founding the legendary trio Hall Of Fame Samara has also played with Metabolismus, Tower Recordings & Salmon Skin, has collaborated with Sonora Pine, White Magic, Jackie O-Motherfucker and has recorded The Firey Furnaces, Double Leopards, Sightings & Magik Markers. Perhaps this best explains how when she is flying her own banner, she is never at a loss for collaborators.
　　
　　This record began at the Sumsilobatem compound in the hills of Stuttgart, Germany as the final fleeting days of summer passed. Doubling as the home base for the psych band Metabolismus the studio was also the perfect starting point for Samara as she was able to work with an array of forgotten analog instruments and the location provided her with the equally exploratory collaborators Moritz Finkbeiner, Werner Notzel, Robert Steng, and Thilo Khun. With a solid month of basic tracking done on the recordings, Samara returned to Brooklyn, tapes under arm and began working at The Rare Book Room where she moonlights as an engineer. Being back in NYC allowed her to introduce a whole new set of long time collaborators into the mix including PG Six, Tim Barnes, Hamish Kilgoer & Mark Moore as well as a band of string players to augment her own violin tracks. Nicholas Vernhes, main engineer at The Rare Book Room mixed the record, bringing out the delicate arrangements of melodic interplay, intricate string sections and the matador trumpet of Gary Olson. The resulting cycle of songs; in the end blends perfectly together, a summit of players lofting together in the heights of orchestrated pop.
　　
　　What all these elements have added up to is cycle of songs that are almost deceptive in their catchiness. Layers of sound that are delicate without being frail and create atmospheres of depth within her pieces. They do not rely on the virtuosity of the players, but on them unifying with each other and the words to create an ambience that is gentle and pulls you deeper into its folds. When it ends you are carried along on its last currents.