A body is bounded. It operates within physical limitations and biological constraints. Whilst some see these physiological boundaries as a terminus, others such as Colin Stetson perceive them as a nexus of possibility, and perhaps even of expansion. It is in this zone of unsteady tension and promise that his new album Chimæra dwells. Collecting a series of extended dron...(展开全部) A body is bounded. It operates within physical limitations and biological constraints. Whilst some see these physiological boundaries as a terminus, others such as Colin Stetson perceive them as a nexus of possibility, and perhaps even of expansion. It is in this zone of unsteady tension and promise that his new album Chimæra dwells. Collecting a series of extended drone works for saxophone, Chimæra charts an entirely new thread of work for Stetson. This thread simultaneously maintains states of reductive minimalism and reactive maximalism. The album pushes his physical abilities, as a body and also as a player to a new terrain. The pieces reveal his increasingly refined capacity to compose works that push outward testing for the boundaries of timbre, harmony and also density. Each of Chimæra’s two pieces forge an almost geological sensibility, tracing out the imagined caverns, hidden hollows and surging magma flows of an underworld that exists beyond the everyday we know. His instrument breathes like wind expelled from lava pipes. The pieces are tactile, engulfing the entire body and the ears with equal ferocity. It is a record that melds together a deeply layered sense of sonic strata with an unwavering harmonic delicacy. For more than a decade now, Stetson has been involved an impressively divergent array of works that are concerned with the very physiology of sound. His lungs shaping sound through the coiling metallic pathways of his saxophones. This work is an opening to a new subterranean stream of his playing and resoundingly places him at the very centre of an ever expanding body of work that has come to define the potentials of his instrument of choice.
0 有用 小麦 2025-01-13 21:30:11 辽宁
8.5+
0 有用 雨摇 2024-07-20 17:48:28 江西
确实令人惊讶!本来对爵士乐手去做这样的音乐(Drone)不是那么的有信心,结果一听完全出乎预料,这完全是用萨克斯做出的声音层和音墙,音色质感上当然有特别之处。首先是他的演奏,肯定是有一些濒临极限的地方,其次是录制时使用的麦克风的特殊布置,确保得到了他想要的声音细节,第三最重要的就是后期的音频制作。我之前也听过比如Lea Bertucci用萨克斯做的嗡鸣/氛围,还有Sam Dunscombe的单簧管... 确实令人惊讶!本来对爵士乐手去做这样的音乐(Drone)不是那么的有信心,结果一听完全出乎预料,这完全是用萨克斯做出的声音层和音墙,音色质感上当然有特别之处。首先是他的演奏,肯定是有一些濒临极限的地方,其次是录制时使用的麦克风的特殊布置,确保得到了他想要的声音细节,第三最重要的就是后期的音频制作。我之前也听过比如Lea Bertucci用萨克斯做的嗡鸣/氛围,还有Sam Dunscombe的单簧管,但是这张又不一样的是,基本上最后出来的是纯粹的幽闭的嗡鸣声音层,演奏内容可以忽略了,就像是两首曲子的标题,怪兽般有吞噬性的黑暗声音层。这也算是在这个时代对萨克斯这种乐器的一种全新尝试和开发了,所以你如果说这是爵士乐,OK,我没意见,哈哈! (展开)
0 有用 白鹿青 2024-07-20 19:24:51 吉林
学习范本
0 有用 贝戈一横 2024-07-20 20:53:39 黑龙江
没啥大感觉
0 有用 贝戈一横 2024-07-20 20:53:39 黑龙江
没啥大感觉
0 有用 白鹿青 2024-07-20 19:24:51 吉林
学习范本
0 有用 雨摇 2024-07-20 17:48:28 江西
确实令人惊讶!本来对爵士乐手去做这样的音乐(Drone)不是那么的有信心,结果一听完全出乎预料,这完全是用萨克斯做出的声音层和音墙,音色质感上当然有特别之处。首先是他的演奏,肯定是有一些濒临极限的地方,其次是录制时使用的麦克风的特殊布置,确保得到了他想要的声音细节,第三最重要的就是后期的音频制作。我之前也听过比如Lea Bertucci用萨克斯做的嗡鸣/氛围,还有Sam Dunscombe的单簧管... 确实令人惊讶!本来对爵士乐手去做这样的音乐(Drone)不是那么的有信心,结果一听完全出乎预料,这完全是用萨克斯做出的声音层和音墙,音色质感上当然有特别之处。首先是他的演奏,肯定是有一些濒临极限的地方,其次是录制时使用的麦克风的特殊布置,确保得到了他想要的声音细节,第三最重要的就是后期的音频制作。我之前也听过比如Lea Bertucci用萨克斯做的嗡鸣/氛围,还有Sam Dunscombe的单簧管,但是这张又不一样的是,基本上最后出来的是纯粹的幽闭的嗡鸣声音层,演奏内容可以忽略了,就像是两首曲子的标题,怪兽般有吞噬性的黑暗声音层。这也算是在这个时代对萨克斯这种乐器的一种全新尝试和开发了,所以你如果说这是爵士乐,OK,我没意见,哈哈! (展开)
0 有用 小麦 2025-01-13 21:30:11 辽宁
8.5+