Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creati...(展开全部) Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with esteemed avant-noise artist Lasse Marhaug. Together, they envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Kelly’s creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’. Lasse Marhaug is known for hundreds of avant-noise releases, previously working with the likes of Merzbow, Sunn O))) and Jenny Hval, for whom he produced her acclaimed albums Apocalypse, Girl, Blood Bitch and The Practice Of Love. A label mate of Kelly’s, Marhaug has recorded for Smalltown Supersound since 1997. Welsh electronic artist Kelly Lee Owens released her eponymous debut album in 2017 and followed this up with 2020’s Inner Song. She has collaborated with Björk, St. Vincent and John Cale. In April, she returns with LP.8.
0 有用 王艺桥 2022-05-02 09:47:27
啥啊
0 有用 NowhereSun 2022-05-21 01:07:00
不是所有实验都会成功;她这回不走流行,反而转向偏僻的工业噪音loop和神圣感的环境音乐,但人声和音乐都没甚么得着;她还是不适合唱歌,感觉不了安详或者离奇性,也许是因为高音未够高,低音未够低的缘故;歌词也是陈腔滥词的能量说;编曲在这流派来说更过于无聊,噪音与背景音乐理应有更多有趣的组合和呈现方式(第七首较像样,尤其后半),但这里不少歌曲过於单一却神奇地没有记忆点,大都不如最接近上专流行的第八首 Cu... 不是所有实验都会成功;她这回不走流行,反而转向偏僻的工业噪音loop和神圣感的环境音乐,但人声和音乐都没甚么得着;她还是不适合唱歌,感觉不了安详或者离奇性,也许是因为高音未够高,低音未够低的缘故;歌词也是陈腔滥词的能量说;编曲在这流派来说更过于无聊,噪音与背景音乐理应有更多有趣的组合和呈现方式(第七首较像样,尤其后半),但这里不少歌曲过於单一却神奇地没有记忆点,大都不如最接近上专流行的第八首 Cut: 7/8 (展开)
0 有用 拾光的纸篓 2022-05-29 20:41:46
是有点不思进取的意思 随便玩玩发了张的感觉
0 有用 Hey,Buddy. 2023-10-15 05:21:38 广东
💣
0 有用 不在线🔇 2023-08-05 01:26:41 广西
65
0 有用 Ezra Blake 2024-10-20 22:07:06 江西
💣 ?装神弄鬼成这样。全面的大退步,听起来真是莫名其妙。
0 有用 tONy顺仔 2022-06-01 23:07:04
6.8(5⃣️),思路转换之后竟这么不伦不类。前作中至少techno硬感与幽冷氛围巧妙中和,营造梦幻的雨雾氛围,也有温润细腻的旋律加持,而这里更硬更冷更躁的工业低音进行苍白的循环,为了极简机械的质感而牺牲掉她还算拿手的旋律,以前的氛围美感被这种干瘪的冥想式处理不断压缩,空洞而单薄,一些spoken word倒是很Jenny Hval wannabe/ 突然不是非常期待她周五的演出了/ cut: A... 6.8(5⃣️),思路转换之后竟这么不伦不类。前作中至少techno硬感与幽冷氛围巧妙中和,营造梦幻的雨雾氛围,也有温润细腻的旋律加持,而这里更硬更冷更躁的工业低音进行苍白的循环,为了极简机械的质感而牺牲掉她还算拿手的旋律,以前的氛围美感被这种干瘪的冥想式处理不断压缩,空洞而单薄,一些spoken word倒是很Jenny Hval wannabe/ 突然不是非常期待她周五的演出了/ cut: Anadlu, Olga (展开)
0 有用 飔一 2022-06-03 22:13:41
nana piano很好听
0 有用 Hey,Buddy. 2023-10-15 05:21:38 广东
💣
0 有用 两万英尺斯图卡 2023-03-04 01:14:59 德国
release听着我还有点小惊喜,氛围听多了也没觉得很无聊(我的问题