Antwood (a.k.a. Canada's Tristan Douglas) returns to Planet Mu with his second album 'Sponsored Content'. The album is more reflective than his debut, last year's 'Virtuous.scr'. The relentless mood of the first album has given way to a more melodic, stripped out sound. It still shakes with speed and energy, but with more space, more moments of delicate sadness and strange cy...(展开全部) Antwood (a.k.a. Canada's Tristan Douglas) returns to Planet Mu with his second album 'Sponsored Content'. The album is more reflective than his debut, last year's 'Virtuous.scr'. The relentless mood of the first album has given way to a more melodic, stripped out sound. It still shakes with speed and energy, but with more space, more moments of delicate sadness and strange cyborg pop. What comes to the fore in 'Sponsored Content' is Tristan's gift for melody, coupled with the uncanny feeling that somehow his strange music is an entire ecosystem of it’s own. It's best explained by Tristan himself: "This record was made during a very challenging year. Some of these challenges were for the best, some were not, most were both, others were neither. The music is inextricably tied to these events, whether I like it or not, and I’ve begun peeking out from behind my self-imposed veil of heavy conceptualization; revealing things about myself that my previous album Virtuous.scr didn’t."
"In the past year, I found that ASMR, which I had previously used as a source of foley in my music, was a fairly effective sleep aid. I’d been using the videos in this way for a few months, when I noticed a popular ASMR YouTuber announced a plan to incorporate ads into her videos; quiet, subtle ads, woven into the content. What bothered me about this was that these ads would target viewers, such as myself, during times of semi lucid vulnerability. This disturbed me, and I unsubscribed." "Sponsored Content explores this idea of subversive advertisement, at least superficially. It’s obviously about the ubiquity of ads and the commodification of online content. The unlikely placement of ads in the music aims to force the listener to become hyper-aware of being advertised to rather than passively internalizing it. But after the record was finished, it became undeniable that really it wasn’t so much a “concept record” about advertisement; it’s as much about intentionally devaluing the things I’ve invested myself into, and over-complicating my work. When I realized this, I considered taking the ads out, and playing the music straight. But I left the record as it is: honest, flawed, with a little humour, and slightly up its own ass." "I collaborated with El Popo Sangre (a.k.a. Paulin Rogues) for the visuals after he showed me his short film “Fantasy” which used several tracks from Virtuous.scr. He and his team at UNICORN added a depth to the project I could never have done on my own."
0 有用 Chlorophyll04 2020-10-07 20:45:30
(4.5-) 高度抽象的概念轰炸,议题新颖,其easy-listening的特质得益于制作上的取舍,浅尝辄止的Industrial & D-Club为氛围服务,意在架构介于虚实之间不稳定的空间;Human 是专辑里最绚烂的瞬间,和 Katie Dey 今年新专辑的 Data 异曲同工,高明度的Synths叠加,Lo-Fi、Autotune处理的Vocal,甚至主旨都惊人的相似——从对虚拟世界的反省... (4.5-) 高度抽象的概念轰炸,议题新颖,其easy-listening的特质得益于制作上的取舍,浅尝辄止的Industrial & D-Club为氛围服务,意在架构介于虚实之间不稳定的空间;Human 是专辑里最绚烂的瞬间,和 Katie Dey 今年新专辑的 Data 异曲同工,高明度的Synths叠加,Lo-Fi、Autotune处理的Vocal,甚至主旨都惊人的相似——从对虚拟世界的反省回到对人类本性的思考,绝佳的收尾。I'm Lovin' I.T. / ICU / Human (展开)
2 有用 奥杰 2017-11-16 00:19:46
运用机械人声、直升机、警笛枪战等大量采样素材,创造出扭曲的电子化科幻世界,制作上还可以更狂野些,整体暗含叙事性(最初杀戮到结束情感流露,在电子音符的变化下诉说着故事与情感,例如三四首营造的寂寥荒芜的氛围感是为一二首的腥风血雨做的缓和,为听者缓缓铺设出一幅幅凄凉的大远景画面
0 有用 SensoRP 2024-11-17 19:08:43 广东
3.7
0 有用 duskdive 2019-01-29 22:46:42
4.5
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欧美音乐风格
0 有用 深街酒 2022-03-30 12:48:53
不错
0 有用 阿绿 2022-10-17 20:13:44 辽宁
吓死
0 有用 酒酒 2022-07-20 16:13:36
不错
0 有用 2022-06-14 21:05:28
额
0 有用 十年九夏 2022-04-20 14:15:42
This record was made during a very challenging year. Some of these challenges were for the best, some were not, most were both, others were neither.