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.
2 有用 Eyes2theWind 2022-05-01 23:44:57
3.7 听睡了4次终于听完,一些很懒惰的loop,一首歌下来都不带变的drones,没什么意思的声音实验
1 有用 Leviososa 2022-05-24 13:20:18
为什么都越来越爱做这种完全不悦耳的电子…我去听楼下汽车碾压过井盖的声音不行吗
0 有用 MeetMeinaMaze 2022-04-30 10:19:31
3.5 听着不再友善的Kelly Lee Owens尝试用工业味蜂鸣ambient不祥之音盖过之前那些鸟语花香的rave示好,重复循环变成一种在单调和入魔间游移的不确定,将招牌式美感营造放在次要位置的成品效果见仁见智(也可以考虑和spoken word女王Jenny Hval合作一整张)但这张的抽象化确实算她的新方向,为潜在的可能留白
0 有用 別有用心美少女 2022-05-04 08:18:56
2.5 too repetitive loopy pattern lol
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 Hey,Buddy. 2023-10-15 05:21:38 广东
💣
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 不在线学徒 2023-08-05 01:26:41 广西
65
0 有用 胤挽仪 2023-09-26 07:52:31 加拿大
走进工业生产线,放弃治疗的vocal。
0 有用 美原原 2024-06-23 02:43:01 重庆
(*´I`*)平平无奇