Back Into The Woods (豆瓣)

表演者: Ed Harcourt
流派: 民谣
专辑类型: 专辑
介质: CD
发行时间: 2013-02-25
出版者: CCCLX Music
唱片数: 1

豆瓣评分

8.1

98人评价

5星

27.0%
4星

51.4%
3星

18.9%
2星

2.7%
1星

0.0%

想听在听听过

评价:

简介 · · · · · ·

　　After the demise of his previous band, Snug, British songwriter Ed Harcourt launched a short-lived career as a chef while continuing to write his own songs. A fan of Tom Waits and Jeff Buckley, he quickly abandoned the kitchen in favor of a solo songwriting career, one that found him progressing from bass guitar (his chief instrument with Snug) to a number of other instrument... (展开全部) 　　After the demise of his previous band, Snug, British songwriter Ed Harcourt launched a short-lived career as a chef while continuing to write his own songs. A fan of Tom Waits and Jeff Buckley, he quickly abandoned the kitchen in favor of a solo songwriting career, one that found him progressing from bass guitar (his chief instrument with Snug) to a number of other instruments including the piano, guitar, banjo, and drums. Harcourt proved to be a prolific, genre-hopping musician and spent much of the 2000s on EMI’s roster, releasing unique albums whose tracks veered between orchestrated pop, minimalist ballads, and Brit-pop/rock songs.
　　Aside from collaborating and writing 100s of songs with everyone from Ren Harvieu to Josh T. Pearson, Ed’s extra-curricular activities since 2010’s Lustre have included scoring songs for For No Good Reason a documentary about Ralph Steadman, as well as the follow-up to Donnie Darko, S.Darko.
　　Ed Harcourtwill release his sixth studio album Back Into the Woods via CCCLX Music in the U.K. The new project was recorded during a six hour session at the legendary Abbey Road Studios in London. It was inspired by the studio itself and the desire to make a stripped-back honest album.
　　“I was in the midst of writing a different record, albeit one that was more production and sample-led – lots of weird samples and noises, electronic glitches etc – and it was starting to drive me mad, so I decided to have a month-long hiatus.
　　Being the kind that needs to scratch an itch, I ended up writing a different record, one that I suppose was on the opposite end of the spectrum: no frills, just myself and a piano and guitar. Having been in a session playing piano for a comedy duo from Canada, I ended up in Studio One of Abbey Road with Pete Hutchings, the engineer of the session, chatting about life and music in general, sitting at the piano. By the end of the night we decided that I should come into Abbey Road and make a record in one night, all live, one or two takes only; so that’s what we did!
　　I arrived at Studio Two around 6pm and we started at 8pm and finished recording at 2am. There were 10 songs in all but I ended up taking off one as it didn’t suit the mood of the record (it was a silly drinking song called Thy Name Is Delirium). It wasn’t too different to how I make a lot of my records – I tend to sing live as I play, and a lot of the time we end up using the guide vocal. I prepared for the session, as I seem to always do, by constantly re-writing lyrics and editing and deconstructing the songs, attempting to improve them into fulfilling their potential. I knew that we only had one night to do this so I think this implanted a sense of momentum and the importance of performing to my best ability with no ‘fixing in the mix’ on this one.
　　We had three pianos set up, a holy triptych of the Mrs Mills tack piano, a Steinway Full Grand and a Challen upright. I used the Hammond organ and also the Celeste piano (famous for its role in the Harry Potter scores) and for the guitar-driven songs I had my Fender Jazzmaster ’63 going through an original Ampeg Reverb Rocket guitar amplifier. We also had my wife Gita on violin and some BVs and Arnulf Lindner playing Cello on ‘Hey Little Bruiser’. There was never any plan to not include drums or bass but they just didn’t seem necessary. I pretty much let Pete set take control sonically, mics and compressors; I didn’t feel the need to stick my oar in as I trusted him and we were on the same page.
　　We recorded the whole record in it’s running order, so the moment that resonates the most with me was when I finished ‘The Man That Time Forgot’ and noticed that the bottle of Wild Turkey had slowly been finished without me even realizing. It really was the most easy and special experience to make this record. I also had a few friends revolving in and out of the session who witnessed the arduous purging of my tainted soul and spurred me on, which perhaps made me perform a bit better. A once in a lifetime event that I’ll never forget.” — Ed Harcourt