What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record “Jade”, Pan Daijing composes at a different scale than that we’ve come to know. Since the release of her groundbreaking LP “Lack” in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at insti...(展开全部) What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record “Jade”, Pan Daijing composes at a different scale than that we’ve come to know. Since the release of her groundbreaking LP “Lack” in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice. Its nine tracks written and recorded over the last three years, “Jade” is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, “Jade” speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis..., however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving. “Jade” comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing’s own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. “Solitude is like an immense lake you’re swimming through,” says Daijing of these songs. “Sometimes you dip your head in and sometimes you lift it above. On album centerpiece “Let,” she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: “I take my bath in the ocean.” We are not just consuming Daijing’s story; we are being invited to join her in the water. more
7.8(3⃣️),仿佛步入一场无法逃脱的噩梦,恐怖诡异的电子噪音被处理成不同纹理的丑陋生物暗藏在工业废墟中,然后延伸出阴森可怖的异世界。轰鸣声时而微弱时而刺耳,无时无刻都在震动空气,而合成器的音效表现好像化成被折磨的生命体,肉体被扭曲被撕扯继而发出各式可怕的惨叫声。东方意蕴的诡谲离奇散布在阴郁氛围中,声声低语和歌剧女声则不断翻涌戏剧色彩。她所打造的这个墨绿色密闭空间的声音实验,更像是一种对痛苦和欲...7.8(3⃣️),仿佛步入一场无法逃脱的噩梦,恐怖诡异的电子噪音被处理成不同纹理的丑陋生物暗藏在工业废墟中,然后延伸出阴森可怖的异世界。轰鸣声时而微弱时而刺耳,无时无刻都在震动空气,而合成器的音效表现好像化成被折磨的生命体,肉体被扭曲被撕扯继而发出各式可怕的惨叫声。东方意蕴的诡谲离奇散布在阴郁氛围中,声声低语和歌剧女声则不断翻涌戏剧色彩。她所打造的这个墨绿色密闭空间的声音实验,更像是一种对痛苦和欲望的隐忍和对抗,时刻要面对分崩离析的危险,在焦灼紧张地等待崩坏发生的过程中被黑暗阴影笼罩。I take my bath in the ocean, I can’t get out.很有意境/ cut: Dictee, Tilt, Dust, Ran, Let, Metal(展开)
Pan Daijing 的名字可能不是很多人知道,但口味前沿的乐迷一定不会对她感到陌生。2017 年,Pan Daijing发行了她的首张个人全长专辑《Lack 惊蛰》。这张专辑入选了英国前卫音乐杂志《Wire》的年度专辑,名列第八位,这是一个颇为了不起的成绩。 Pan Daijing的音乐作品里融合电子...
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2 有用 Jaychen 2021-06-05 18:37:29
我觉得这张挺不错的,需要从和《lack》完全不同的角度去欣赏(高考完之后再多听几次吧)
5 有用 tONy顺仔 2021-07-22 22:42:49
7.8(3⃣️),仿佛步入一场无法逃脱的噩梦,恐怖诡异的电子噪音被处理成不同纹理的丑陋生物暗藏在工业废墟中,然后延伸出阴森可怖的异世界。轰鸣声时而微弱时而刺耳,无时无刻都在震动空气,而合成器的音效表现好像化成被折磨的生命体,肉体被扭曲被撕扯继而发出各式可怕的惨叫声。东方意蕴的诡谲离奇散布在阴郁氛围中,声声低语和歌剧女声则不断翻涌戏剧色彩。她所打造的这个墨绿色密闭空间的声音实验,更像是一种对痛苦和欲... 7.8(3⃣️),仿佛步入一场无法逃脱的噩梦,恐怖诡异的电子噪音被处理成不同纹理的丑陋生物暗藏在工业废墟中,然后延伸出阴森可怖的异世界。轰鸣声时而微弱时而刺耳,无时无刻都在震动空气,而合成器的音效表现好像化成被折磨的生命体,肉体被扭曲被撕扯继而发出各式可怕的惨叫声。东方意蕴的诡谲离奇散布在阴郁氛围中,声声低语和歌剧女声则不断翻涌戏剧色彩。她所打造的这个墨绿色密闭空间的声音实验,更像是一种对痛苦和欲望的隐忍和对抗,时刻要面对分崩离析的危险,在焦灼紧张地等待崩坏发生的过程中被黑暗阴影笼罩。I take my bath in the ocean, I can’t get out.很有意境/ cut: Dictee, Tilt, Dust, Ran, Let, Metal (展开)
2 有用 W.L.N 2021-06-11 12:29:36
95/100 我对实验电子和流行“私密性”要求的高度是不同的 但是这张不是 它提供的私密感是扭曲的 它的氛围和人声并没有刻意追求精致细腻 让人始终静不下来去思考 更像是躲在午后幽暗的角落里独自崩溃
3 有用 D4 2021-06-04 15:58:45
声音景观造得非常好,教科书级别sound art
3 有用 Pablo 2021-06-08 01:08:14
8.4 没有上专那么激进了but美感依旧很极致。专辑封面通常是一张专辑给听众留下的第一印象,而一张好的专辑封面应当能够概括整张专辑的听感与所要表达的内容和情绪、以及引导听众在聆听专辑时的情绪与感受、并达到使声音通感的境界,从这个角度来讲,玉观音的这张封面是我心目中的年度最佳封面
0 有用 C. 2023-09-24 21:37:25 中国香港
🖤
0 有用 Sufjan的老公 2024-02-11 18:55:57 四川
3.5 太cult了有点受不了 比上一张好
0 有用 根斯巴克连续体 2023-03-08 23:20:19 广东
妇女节,听女性艺术家
0 有用 DeckardYang 2023-04-22 20:29:46 四川
Re
0 有用 换个号若 2024-03-11 13:46:58 江西
7.9