Jonathan Rado is a songwriter, a staid performer, an evangelical producer; the 23-year-old California native's solo project, fashioned on brief sabbatical from his main project, Foxygen, is a deliciously self-conscious piece of esoteric apocrypha. Like character games, or symphonies of nonsense imitation-language, his records are cathartic, designed only to liberate the body ...(展开全部) Jonathan Rado is a songwriter, a staid performer, an evangelical producer; the 23-year-old California native's solo project, fashioned on brief sabbatical from his main project, Foxygen, is a deliciously self-conscious piece of esoteric apocrypha. Like character games, or symphonies of nonsense imitation-language, his records are cathartic, designed only to liberate the body and break the awkwardness of obsessive, existential silence. Alone in a bedroom, the holy land where he's been experimenting with recording since junior high, Rado laughs nervously and eats his fingernails, awestruck by the sublimity of the aural world. The smallness of his own anemic voice confounds the babe agape, and only by adopting the task of genre does he transcend his own limitations to stand comfortably at the precipice of sound. On his debut solo album Law and Order, the San Fernando Valley and the Lower East Side flirt over muddy coffee, get married over corned beef, and give birth to a Motown drum beat-but something is amiss. For example, there is no bass line on LA-psychedelic-dance-jam "Seven Horses," and not a single hand clap satisfies the droning singer's gently repetitive request, "If you feel it all, clap your hands." "Hand in Mine" sounds like an idea Johnny Cash had while sleepwalking through a fever dream. The zonked-out guitarist settles back to warm Christmas sleep but dreams only of synthesizers. "Looking 4a Girl Like U" is an opium den, and there in the running shower Prince stands, sultry. He kaleidoscopically unbuttons his soaked, sequined shirt for six consecutive minutes, screaming "baaaaaby" and ego-dancing. On "I Wood," a folk spasm of paranoid schizophrenia, Rado's Bob Dylan vowels pile so heavily upon a White Fence-minor progression that Tim Presley actually materializes on "Faces" to turn off the water and steamy distortion. "All the Lights Went Out in Georgia" is a self-loathing diary entry thrown into a fire, and "Pot of Gold" gets too drunk, freaks out and starts hitting on everybody. So Rado wraps up the album and apologizes to everyone, promising not to invite that guy over anymore.
事实上,暂别Foxygen后另起炉灶的Jonathan Rado更有意思,因为他不用再强装年少轻狂,以迎合那些听惯了青年摇滚的耳朵,而是改走起60年代摇滚复兴路线。若是将《Law And Order》置于老唱片店,从视觉到听觉,都是毫无违和感的。 不过,《Law And Order》的纬度又是宽阔的,不...
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0 有用 babe🌈rainbow 2013-09-04 13:52:17
最後一首單獨拿出來不錯 放到最後一首太怪了 欣賞不了///
0 有用 流星ヘブン 2014-07-07 22:33:06
三四之间,有几首还满喜欢的
0 有用 ZachM 2015-01-20 14:45:51
这么赞!
0 有用 黄柑柑 2020-05-28 20:46:28
Hand in Mine❤️❤️❤️❤️❤️
0 有用 何必 2013-09-04 18:54:31
Foxygen
0 有用 黄柑柑 2020-05-28 20:46:28
Hand in Mine❤️❤️❤️❤️❤️
0 有用 流星ヘブン 2014-07-07 22:33:06
三四之间,有几首还满喜欢的
0 有用 何必 2013-09-04 18:54:31
Foxygen
0 有用 babe🌈rainbow 2013-09-04 13:52:17
最後一首單獨拿出來不錯 放到最後一首太怪了 欣賞不了///
0 有用 ZachM 2015-01-20 14:45:51
这么赞!