2009年07月4日
LO:BLOC (aka DJ SODEYAMA) -- From Northern Climes (日本原裝進口)
日本著名Minimal Techno體系的DJ SODEYAMA,化名為LO:BLOC,
音樂散發著憂鬱,雄壯,神秘,呈現另一面向的電音探索
瑞典女唱作人Anna Järvinen -- Man var bland molnen(飄在雲端上)
出生在芬蘭,成長於瑞典的Järvinen,2007年推出一嗚驚人的Jag fick feeling,新專輯Man var bland molnen保持民謠,搖滾的基調,找來著名搖滾樂隊Dungen主腦Gustav Ejstes合作，還跑到以玻璃工藝馳名,風光如畫的Småland進行錄音
http://www.myspace.com/annajarvinen
Häpna H.43, CD10 tracks, 43 minutes
Listen:
01: Låt det dö
02: Äppelöga
03: Social kompetens
06: Är det det här det hela handlar om?
當Anna Järvinen前年底以唱作人之姿推出首張個人專輯《Jag fick feeling》，而且還選擇由瑞典相當冷僻的少眾獨立廠牌Hapna發行，對雙方而言都是相當讓人意外的一步，而更讓人意想不到的是，在沒有強勢媒體宣傳攻勢的情況下，這張專輯在瑞典竟大受歡迎，不但好評如潮，並引來全國重要媒體爭相採訪，後來更被提名瑞典格萊美音樂獎年度女藝人、新人、作曲家與最佳填詞；獲斯德哥爾摩都市報音樂大獎，Anna Järvinen可說是2007年瑞典樂壇最大的奇蹟。
出生在芬蘭，成長於瑞典的Järvinen，曾經是樂隊Granada的主唱，2003年解散後一直到2007年才推出一嗚驚人的《Jag fick feeling》(我有感覺) ，今年她剛推出新專輯《Man var bland molnen》(飄在雲端上) ，保持民謠、搖滾的基調，找來Gustav Ejstes（著名搖滾樂隊Dungen主腦）合作，還跑到以玻璃工藝馳名、風光如畫的Småland進行錄音，Ejstes除了為Järvinen監製與錄音，還演奏了專輯中大部份樂器，其他客串的音樂人還包括Reine Fiske、Fredik Swahn、 Leo Svensson、Mattias Bergqvist 與Anders Nygårds。
聽Järvinen唱歌總讓人感到自由自在，無憂無慮，不像一般日漸格式化的所謂“清新”，她的清新是率性自由的，是情感與形式的自然流露，聽者根本不需要了解她在唱什麼（整張專輯她以瑞典語演繹）就被她甜而不膩的歌聲帶著走，也因為語言的相對陌生，反而變成了另一種聽覺上的樂趣。在編曲配器上，延續前作的七零年代復古卻不落俗套音樂氛圍，Ejstes與樂手優異的演奏水平與品味讓整體的音樂性維持在高水平，實非一般花草樂隊可比，也是讓Järvinen的專輯能夠脫穎而出的關鍵所在。
Words Are Something Else / The Boats
美妙旋律、溫暖音色，一點點的遊戲人間與人聲搭配，還有恰到好處的踢腦techno元素，讓英國的The Boats聽起來令人想起底特律與柏林電子餘韻，卻同時不經意多了幾分shoegazing況味
http://www.myspace.com/bepputheboats
Cat.No: home n003
Release date: June 12th, 2009
Edition number: 1000
Release description:
As the saying goes, a change is as good as a rest. Never the band to rest on their illustrious laurels, or to misinterpret tradition, The Boats deliver a surprise in the form of ‘Words Are Something Else’.
Taking their influence from myriad places has always been a subtle hint toward the Boats current psyche, and using the words deep, and techno, while alluding to their new album is a new, if not slightly fashionable (and disconcerting to tradition) statement. The Boats, fashionable, in the same sentence? Well, not really, but the 4/4 underpinning, and synthesis of almost an ‘acid’ character of most of the album is definitely a new facet of the rough diamond that they’ve shaped over their career.
Speaking of shaping, the ease with which Chris Stewart’s voice is carved alongside the techno sensibilities makes it sound like he should always have been there. Songs like ‘Raindrops (Second)’ hold an almost Beatles-esque vocal harmony scattered and yet held in place by the insistent kick drum, and deft edits that keep the future firmly in mind, while paying homage to the past.
‘I Hope You Get Well Soon, I Hope You Get Well Tomorrow’ dispenses with any ulterior motives, and reminds us of how entrancing the deeper side of techno can be when passed through such a distinctive filter as The Boats have. All their albums have leaning toward classic genres, and melodies, and yet here they pull the same thing off in a genre they’ve never been identified with, to a tee.
Rest assured the faithful followers of the Boats need have no trepidation regarding such a sideways step they’ve taken with this record, as this is a Boats album through and through, but it’s the surprising ease with which they pull off the foray into unexplored territory that really hits home. Miles Whitakker (Pendle Coven)
感受一日間的聲響幻變 Christopher Hipgrave – Day
英國聲音藝術家Christopher Hipgrave首張個人專輯，以細緻含蓄的聲音表達手法，將日常自然聲響幻化成一首首有意味的樂詩，讓人感受大自然的靜穆與神秘
http://www.myspace.com/christopherhipgrave
Cat.No: home n004
Release date: June 26th, 2009
Edition number: 500
英國聲音藝術家Christopher Hipgrave首張個人專輯，以細緻含蓄的聲音表達手法，將日常自然聲響幻化成一首首有意味的樂詩，讓人感受大自然的靜穆與神秘。
Kurt Vonnegut, Jr. once spoke of nature as needing to be held close to humanity, to be a friend, instead of an enemy. ‘Day’, by Christopher Hipgrave, who is a composer, sound designer, and software programmer from England, presents the harmony of the humanity and closeness to nature, while still allowing the time of the day to pass hardly without notice, but with change and closeness.
Spanning 7 tracks, and 44 minutes, the simply descriptive titles of ‘Day’ transcend a controlled majesty over the evolving everyday. The times of the day are present, relative to structures of the surrounding world. All found in place: Flowers’ petals opening through an extended time-lapse, the trickle of water drops from rubber plants to the ground, the bending of grass blades shifting like razors, with only the temporal echo of the evening warming the last remaining seconds are present.
Near the end of the record, the music withdraws into a secluded world that could easily be the crackling of raindrops on a windowsill, heard through the window of a house, in any city, on any rainy day. The world is muted, strong, and pensive. The last minutes breathe with a somber intensity, pumping but gushing through missive pathways, always on target, and withering all the while.
Simply relating sounds to nature is a little compliment, but isn’t everything, when it is first beginning? If everyday could be as descriptive, and have as many tender moments as this cherished debut contains, each day would be memorable, waiting for the next. Will Long (Celer)
通向無限延長的聲音廢墟 Library Tapes -- Sketches (ep)
既直接卻模糊、豐富與簡樸並存、精準又遼遠...Library Tapes再度透過聲音的編織將各種衝突矛盾的元素匯為一體。細碎慢燒的現成聲響與田野錄音，Danny Norbury的大提琴伴著殘響的鋼琴旋律。一切皆來得輕柔而雅致，自成11個窗戶，通向無限延長的聲音廢墟
http://www.myspace.com/librarytapes
Cat.No: home n001
Release date: March 20th, 2009
Edition number: 1000
既直接卻模糊、豐富與簡樸並存、精準又遼遠...
2009年07月3日
Until the earth begins to part/Broken records
"We're trying to do something different. People forget that music doesn't have to be just bass, guitar and drums. It can be just as loud and exciting with glockenspiel and trumpet" - Broken Records
Tipped by pretty much every record industry insider upon their appearance in 2008, Broken Records certainly have the raw materials to become one of the most celebrated British bands over the next 18 months.
A record bubbling over with passion and heart-on-the-sleeve emotion, Until the Earth Begins to Part doesn’t always quite do the songs it features full justice.
The production seems to struggle to cope with the bombast, and the band could learn occasionally that less can be more.
That said, songs such as ‘Slow Parade’ and ‘If the News Makes You Sad Don’t Watch It’ are undeniable signs that they could play huge venues in the future. (the epoch times)
Amatoria/Federico Aubele
“Love is such an important thing for every human being, whether we notice it or not. We all experience it at least once in life. It’s one of the few things, along with dying, that is guaranteed to happen to you.”
Suena Mi Guitarra sways and bounces, trip-hop meets tango with a jangly reggae guitar feel. Te Quiero a Ti is upbeat and evocative of Mexican groups like the Reggae Cowboys. Del Ayer layers phased backward-masked guitars in the background; there’s also a duet with the unlikely choice of Miho Hatori from Cibo Matto, who quite surprisingly acquits herself so well that she really ought to have been given a turn out front. The most bizarre cut here – tropicalia is just full of them, isn’t it? – is the samba-inflected El Sabor with its layers of artificial, bubbling synth, early 80s ELO goes to Brazil. The cd ends with an acoustic guitar instrumental that offers more than a hint of a more stark, purist sensibility lurking here. Piazzolla it’s not, but it’s something you can put on at a party and nobody will complain – in fact, you’ll probably have people asking you who this is – and it’s a good late-night sleepytime cd.
2009年06月30日
Night Dreamer / Wayne Shorter
真正讓Wayne Shorter是Shorter而非Coltrane第二的主要原因在於「作曲」。Night Dreamer 是他加入Blue Note Records的處女作，個人風格與才華己全然展現，是硬蕊樂迷不應忽視的好東西。
薩克斯風手Wayne Shorter是個十足十的音樂練家子，正統音樂科班出身，又具備與生俱來的黑色血統，他的音樂聽起來就跟上面說的一樣：熱情、奔放、精準、嚴謹。他的作曲能力與演奏技巧深受同行敬重，大師們爭相延攬，最著名的例子就是鼓手Art Blakey邀請他擔任「爵士信差樂團」〈The Jazz Messengers〉的音樂總監，以及Miles Davis力邀他進入著名的「二代五重奏」等等。而本張專輯則是Shorter加入Blue Note的處女作。專輯的光芒雖不若前述作品耀眼，但卻是硬蕊樂迷不應忽視的好東西。樂團搭配上找來了小號手Lee Morgan、鋼琴手McCoy Tyner、貝斯手Reggie Workman與鼓手Elvin Jones合作，演奏上聽的出來他想突圍而出的渴望，而真正讓Shorter是Shorter而非Coltrane第二的主要原因在於「作曲」，他的作曲能力讓他的風格盡顯。從這張專輯開始，不難想像何以Shorter後來有能力錄製諸如前述的許多傳世經典。畢竟打從一開始，他的音樂羽翼就已長全，只消逮到個機會就能一飛沖天。
The Struggle Continues/Dewey Redman
"A solid, thoughtfully programmed showcase for one of the most capable and encyclopedic of modern saxophone stylists."- New York Times, 1983
Dewey Redman is one of the most highly-regarded and influential saxophonists in jazz history. He was born in Fort Worth, Texas in 1931 and played with another mighty local saxophonist, Ornette Coleman, while still in his teens. From the late 1960s until the mid 1970s he worked again with Ornette, and, in the same period, played alongside Coleman's bassist Charlie Haden in Keith Jarrett's `American Quartet.' His other ECM recordings are with the group Old and New Dreams (with Haden, Don Cherry and Ed Blackwell), Charlie Haden's Liberation Music Orchestra and on Pat Metheny's 80/81. Originally recorded in January 1982, Redman's only ECM disc as a leader, The Struggle Continues, is a reminder of why Dewey was so highly regarded by his peers. With Ed Blackwell's soulful net of rhythms lifting him up, he moves through a range of styles with absolute authority and authenticity, from gently lilting balladry to free play, from the Texas tenor blues to bebop. The music on The Struggle Continues is comprised of Redman originals plus Charlie Parker's speeding "Dewey Square."
2009年06月27日
Joshua O.S.T. / Nico Muhly
Limited edition of 500 copies.
With this strikingly original score, young composer Nico Muhly, who has worked extensively as an editor, keyboardist and conductor for Philip Glass, conjures the atmosphere of a claustrophobic apartment - a place where psychological terror strikes in this award-winning horror feature directed by George Ratliff. "It begins sun-drenched and idyllic, with bells, harp, and piano outlining a wholesome and growing family," the composer explains. "Gradually, the piano becomes an antagonist... and as Joshua becomes more and more menacing to his mother, the piano moves to registral extremes, obsessing over the highest and lowest notes of the keyboard... The score ends with severe trombones and wailing violins; a complete subversion of the optimistic beginning."
Ever since the film's theatrical premiere (it was released by Fox Searchlight last summer), we have been working hard to acquire the soundtrack rights to this extremely well-crafted and very disturbing score - and now it's here!
2009年06月24日
義大利聲音藝術家 Giuseppe Ielasi 最新傑作 -- Aix (12k)
試聽：
http://www.12k.com/1051.html
http://www.ielasi.com/
以創作地法國南部Aix-en-Provence命名的新專輯，如封面照片所示，由不規則、律動模糊的多種節奏體組成一個格網，以此建構出多層次的音樂。相較於之前作品線狀的推進，《Aix》則是垂直發展，利用隨機程序即興地開關著聲響，玩弄其置位及回聲、殘響，以達成清晰的空間感。
Aix is the latest work from Italian artist Giuseppe Ielasi and the follow-up to 2007’s August (12k, 12k1044). WIth Aix we see Ielasi building his layered, atmospheric music around rhythmic grids. Most of the time these are quite irregular and the pulses are not neccessarily stable or clear. Where his previous work approached sound in a linear fashion Aix imposes a strong vertical development with the aforementioned grid and a production consisting of ons and offs, employing as much improvisation as Ielasi’s previous work, but in a different way.
不再童稚~日本女聲音藝術家 Sawako -- Bitter Sweet (12K)
試聽：
01: Wind Shower Particle
02: April - From Sea Shell
03: Deep Under
http://www.myspace.com/sawako
Though electronic processing is used throughout it never feels synthetic or cold, it’s always feels very real, natural and organic as if growing from out of your play back system filling your listening and head space with an often warming sonic glow. - Silent Ballet
以紐約為家的日本聲音藝術家Sawako，這次呈現更強調drone與tonal的傾向，Jacob Kirkegaard的田野錄音與Radiosonde跟 Ryan Francesconi的吉他加入，還有Sawako的吟唱，卻已經不再給人童真感，而是一位半熟女性的溫柔感性
New York/Tokyo based Sawako is a musician, software designer, and multimedia artist whose multi-disciplinary works intermix and pollenate her music with inspiration ranging from nature, science, academia and poetic motion.
Following releases on Anticipate and And/Oar, Bitter Sweet is Sawako's 2nd release on 12k after the critically acclaimed Hum (12k1035) in 2005. Her music is fragile and intimate, delicate, ephemeral and resonant. Bitter Sweet is unmistakably Sawako but finds itself moving into much, much deeper territory than her previous works. Building on her past forays into experimental pop, she uses low and mid-frequency drones and soft, melodic highlights to shape beds of stripped-down, shifting into hypnotic and very linear tracks that fill the space they exist. Bitter Sweet is more drone and tonal based than Sawako's previous works. However, these gentle movements are punctuated by field recordings and acoustic instrumentation with cello provided by Jacob Kirkegaard and guitar by Radiosonde and Ryan Francesconi who also co-write two of the pieces on the album. In what has become a bit of a signature, Sawako lends her own voice to the ending lullaby "A Last Next." These combination produce rich results.
夏威夷小吉他 Ukulele
這是一個適合大人及兒童，並且好聽易學可愛，又能激發節奏潛能的樂器。倘若您羨慕彈著吉他享受片刻心靈自由的感覺，別在猶豫《夏威夷小吉他》絕對是您唯一的選擇！只要 UKULELE 在手中，沒有你不會彈的歌。
關於優克里里（Ukulele），至少有以下幾種傳說：
1.女王Lili'uokalani 認為它來自夏威夷詞為"來這裡" 的禮物, 或"uku" (禮物或獎勵) 並且"lele" (來) 。
2.另一說法認為，這種樂器最初叫做"ukeke lele" 或"Dancing ukeke" (ukeke 是Hawaiian 的三弦琴) 。但十七、十八世紀起，歐洲移民增多。由於口音不同， 多年來錯誤發音成為了"優克里里琴" （Ukulele）。
3.還有一說法是，有一個名叫艾德華普維斯的英國將官，帶著他的侍衛去晉見夏威夷國王【大衛Kalakaua】。由於他非常善於彈奏braguinha（Ukulele的前身），而且那種樂器看起來又小又有活力，使大多數的夏威夷人就直接叫他優克里里（Ukulele），意思是【跳躍的跳蚤】。
4.其中最有名的有關“優克里里”琴起源說法的版本是；源自於早期夏威夷當地最富盛名的兩個家庭“佳百列戴維恩”（Gabriel Davian） 和法官“魏可氏”（W. L. Wilcox） 的一段故事。有一回佳百列要去參加魏可氏在卡西里島（Kahili）新家喬遷的喜宴，帶著自製的四弦琴前去，當大家稀奇這一個又小又可愛的樂器叫什麼名字的時候，佳百列回答說：「Jumping Flea（跳躍的跳蚤）」，並問嫺熟於夏威夷語的魏可氏如何翻譯。魏可氏回答：「Ukulele」。
KAZOO笛
★★★KAZOO(卡柱笛,屁笛)是一種古老的樂器，慶典或特殊節日時都會被拿出來吹奏。卡祖笛從十九世纪四十年代被發明以來一直是經典的美國樂器。
★★★想知道KAZOO是如何發出聲音的嗎？★★★
KAZOO的發聲方式極為特殊，透過人聲哼唱發出的聲音，它的膜片和共鳴管會將聲音放大，可以發出類似薩克斯風嘶啞或是放屁般滑稽的音色。
所以只要你會說話會唱歌，就可以用KAZOO演奏歌曲，很快就可以掌握演奏技巧。
★★★如何吹奏KAZOO？★★★
將KAZOO較寬的那頭放入口中,嘴巴發出"恩恩"或者"呼呼"的聲音即可,並且可以一邊改變音高,就可輕易演奏一首歌曲囉!
★★★KAZOO的用途★★★
１。音樂演奏：KAZOO有趣而特別的音色，是很多國外樂手和歌手演出時的客串樂器。
http://www.youtube.com/watch?v=GLDK-hXCmek
http://www.youtube.com/watch?v=mVebMc-L-Zg
２。語言障礙治療：KAZOO對於具有語言學習障礙，自閉症，精神官能症等，均有一定的療效,患者可藉由演奏KAZOO，重拾信心並與周遭人物互動，若搭配其他打擊或是簡易演奏的樂器療效更佳。
３。教育學習：年幼的兒童可以藉由吹奏ＫＡＺＯＯ，培養對聲音的敏感度，並學習如何控制聲音及團體互動。
http://www.youtube.com/watch?v=wy5xh18eqfc&feature=related
４。娛樂效果：ＫＡＺＯＯ可以用在默劇或是舞台劇等劇情當中，它特殊而有趣的聲響，可以製造出不少的娛樂效果。
http://www.wretch.cc/album/show.php?i=sweet650431&b=6&f=1349675022&p=133
５。派對活動：ＫＡＺＯＯ是國外一種老少皆宜的樂器，在小朋友的生日派對等場合，ＫＡＺＯＯ是一種少不了製造氣氛的玩具。
http://www.youtube.com/watch?v=p-CqZ3S8ZjI&feature=related
http://www.youtube.com/watch?v=TGkOIOL-9fU&feature=related
６。演唱會及造勢：熱鬧的場合中少不了哨子瓦斯汽笛螢光棒和加油棒，此時ＫＡＺＯＯ就是你的最佳良伴，讓你隨身帶在身上，一點也不會製造多餘的麻煩。
2009年06月19日
FLOWER OF EVIL / susanna wallumrød
試聽：
http://www.mic.musiconline.no/shop/displayAlbum.asp?id=35453
http://www.myspace.com/susannasonata
Said about Susanna A true talent, she sings like a Norwegian mountain stream. Pitchforkmedia (US)
Her voice is extraordinary, wedding mountain-stream purity to a deep soulfulness. Mojo (UK)
Wallumrød’s voice takes your breath away. The Observer (UK)
A dolorous delight. Uncut (UK)
Wallumrød acts like it matters a lot, in the same way that Nina Simone would take just about anything in the ‘60s and ‘70s and reinterpret it as the most harrowingly personal tune ever. Cokemachineglow (US)
挪威女唱作人Susanna Wallumrød 推出最新個人專輯《惡之花》(Flower of Evil)，收錄12首名曲翻唱與2首自創曲，不管是Thin Lizzy 或 Sandy Denny，Black Sabbath 或 Nico， Lou Reed 或 Abba，Susanna以她獨特個人唱腔，把這些歌曲變成”自己的歌”，這次合作的除了同屬挪威的音樂好友Helge Sten (Deathprod, Supersilent) 與 Pål Hausken (In The Country)，還找來美國著名另類民謠唱作人Bonnie ’Prince’ Billy跨刀合唱兩首歌曲．
”Flower of Evil” is twelve sublime cover versions of mostly well known songs as well as two Susanna originals, all beautifully sung by one of the most exceptional new voices of recent years, lovely accompanied by her trusted band members Helge Sten (Deathprod, Supersilent) and Pål Hausken (In The Country) and with Bonnie ”Prince” Billy guesting on two songs. Whether it´s Thin Lizzy or Sandy Denny, Black Sabbath or Nico, Lou Reed or Abba, all are given the very personal Susanna treatment. Susanna is known as an extraordinary interpreter of songs, "Love Will Tear Us Apart" and "Hallelujah" from Susanna and the Magical Orchestra´s "Melody Mountain" have been widely hailed as excellent versions of "difficult" songs.
2009年06月18日
WHITEOUT / in the country
試聽：
http://www.mic.musiconline.no/shop/displayAlbum.asp?id=36674
http://www.myspace.com/inthecountrytrio
最近挪威樂團In The Country（ITC）出版了新專輯《Whiteout》，也是這隊在歐陸備受矚目的新派爵士樂團第三張專輯，自前年有幸看到樂團主腦Morten Qvenild的現場演出 (他以Susanna and the Magic Orchestra的成員身份參加廣州NOTCH音樂節演出)，即被其受Paul Bley與Keith Jarrett影響又自成一格的鋼琴演奏風格所吸引，加上貝斯手Roger Arntzen 與鼓手Pål Hausken， 這隊目前平均年齡才三十歲左右的年輕三重奏，卻已經被挪威爵士樂壇寄以厚望，2003出道即當選年度最佳爵士樂新人，出版首張專輯《This Was The Pace Of My Heartbeat》，溫和、親近、光線閃爍、濃淡消長的整體氣氛不但獲樂迷樂評高度認同，連著名美國爵士樂雜誌Downbeat也給與高度評價，並受邀到歐美各地演出，可說為他們日後發展奠定很好的基礎。2006年出版的《Losing Stones, Collecting Bones》，11首作品皆由Qvenild創作，聽來簡單的音樂充滿可呼吸的空間，在典型爵士的和聲語法之外也有著優雅民謠性格，配器簡單卻出現引人入勝的趣味與細節，而美國紐約傳奇吉他手Marc Ribot的加入讓專輯產生意想不到的音樂張力。
在這次《Whiteout》當中，天才橫溢的Morten Qvenild雖剛獲挪威康斯伯格爵士音樂節傑出音樂人大獎，卻沒有因此變得墨守成規，相反旺盛的音樂企圖心驅使他不斷往未知的未來爵士樂世界開發。初聽ITC的音樂，可能會失望聽不到一般爵士樂三重奏慣常的即興獨奏炫技，這不是技巧強弱問題，只是他們音樂取向更強調曲子的整體性與層次感，以強勢個人風格挪用各類型音樂元素，給與足夠時間鋪排發展主題，八首曲子從七到十二分鐘不等，塑造出非常獨特的音樂輪廓與線條，呈現出有別於舊作篇幅更為浩大的史詩傑作。
USUAL REVOLUTION AND NINE remix album / no.9
日本電音高人No.9第五張個人專輯Usual Revolution and Nine 因為大受歡迎，於是出版了這張毫華混音專輯,邀請一眾好友包括 akira kosemura,ametsub,aus,i am robot and proud, haruka nakamura,miaou與柏大輔等特別混音：
1. introduction ( Remix by Ametsub )
2. alive ( Remix by haruka nakamura )
3. again, again and again ( Remixed by aus )
4. meguru ( Remix by DJ funnel )
5. Princess ( Remix by I am robot and proud )
6. Introduction ( Remix by Akira Kosemura )
7. found it ( Remix by miaou )
8. KATABAMI dance ( clover classic Remix by kashiwa daisuke )
9. with millions of love ( Remix by Kettel )
10. prays ( Remix by Nanofingers )
11. left the wind ( Remix by no.9 orchestra ) *Bonus Track
IN THIS NET, WE FOUND OUR WINGED TALES / v.a.
http://www.myspace.com/munest
厭倦了空言和口號。每天聽到的「努力呀！」「支持你呀！」「站起來呀！」多如繁星，政府又叫我們共渡時艱，「互相扶持走下去」成為我們社會的共識。然而又有幾多人有勇氣，有行動，去幹一點實事？「我支持你！」沒有實際行動，都只是一句空話。
偏偏就是mü-nest靜靜地幹實事。廠牌找來10位electronica派別的音樂人，分成五個二人小隊，然後各自為對方的一首作品製作混音版本。mü-nest稱之為「翼」的合作：翼是要成雙才有作用的。這五對「翼」包覽來自日本、新加坡、馬來西亞、中國的新音樂單位，曲風多變，卻離不開mu-nest廠牌的底蘊：製作出甜美而溫暖的電音作品，為你和我的生活增添色彩。
在mü-nest連番打造之下，electronica音樂已經脫離曲高和寡的印象，而是飛入尋常百姓家的溫婉小品。不論是電子碎拍、低迴琴音、還是嫻熟女聲，都是一闕對恬靜和諧生活的讚歌。
一面聽這十首全新的作品，一面想起這五對「翼」的故事。他們各自用自家的元素，融入對方的作品，貫注全新的靈魂，這才是「互相支持」的真正意義，也是各音樂人身體力行，忘記那些空泛的口號，以行動表達對「合作」的理解：你中有我，我中有你。這對「翼」似乎又多了一重新的意義。
你看到那個由香港插畫家Bubi Au Yeung繪畫的天使封面嗎？在mü-nest的國度裏，我們找到了屬於「翼」的童話，當中的訊息最明顯不過：少說話，行動吧。或至少，給你所愛的人一個擁抱，好嗎？
2009年06月15日
MAN OF ARAN / british sea power
水星音樂獎候選人最具野心的搖滾詩篇
媲美Godspeed You! Black Emperor的磅礡史詩
CD+DVD完整收錄1934年經典電影《艾蘭島之人》
http://www.myspace.com/britishseapower
http://www.britishseapower.co.uk
三張搏得滿堂喝采的專輯，加上2008年水星音樂獎候選人的殊榮，成軍即將邁入第十年的British Sea Power，音樂上不斷破格的野心，以及迥異於時下搖滾明星的深厚人文氣質，讓他們成為英倫最令人不容忽視的獨立名流。某回愛爾蘭巡迴演出期間，British Sea Power與電影【艾蘭島之人】偶然交會，開啟了這個配樂作品誕生的契機。於第二屆威尼斯影展拿下墨索里尼獎（Mussolini Cup）外語片的【艾蘭島之人】，為美國紀錄片名導Robert J. Flaherty於1934年執導的作品，影片跨越了紀錄片與劇情片的界線，描繪愛爾蘭西岸艾蘭島獨特的人文風光，將該島苛刻的自然環境與人類謀生的艱毅韌性，在黑白影像的詩意調性間，醞釀出深沉而撼動人心的史詩格局。
這張所謂的「配樂」，其實就是四分之三的世紀後，British Sea Power對【艾蘭島之人】影像間不朽精神的體悟，擱下了他們讓人熱血澎湃的英搖魔力，全神遁入【艾蘭島之人】中那個孤絕、險惡卻富饒生命力的世界，主題旋律〈Man Of Aran〉中堆疊著綿密鄉愁的琴音，銜接〈The South Sound〉孤絕淒冷的弦樂漸入激昂鼓擊的磅礡氣勢，為獵鯊戲譜寫的〈Spearing The Sunfish〉納入了詭譎的實驗音色，招牌的明朗悠揚則在末段〈No Man Is An Archipelago〉揚起……抽離了Yan極具滲透力的煽情嗓音，《Man of Aran》更見British Sea Power編曲上精心雕琢、鋪陳的巧思與功力，總被拿來與Joy Divison、The Cure或U2相提並論的他們，再次展現了遠遠超越同輩的氣度，翻過《Do You Like Rock Music?》立下的高標準，以12首一氣呵成的美麗詩篇，帶來凝聚力與衝擊性都直追Godspeed You ! Black Emperor 的後搖滾鉅作！
2009年06月14日
ENTERTAINMENT / fischerspooner
U.S. pressing of the 2009 release from the Electronica duo includes two bonus tracks. Fischerspooner are one of the most respected and successful crossover acts of the Electro renaissance. Their work fuses fine art and pop culture, as in their renowned outsider pop shows bursting with stage effects in both art galleries and traditional concert halls. Recorded over a two-year period with producer Jeff Saltzman, the music marks a further maturation of the group's sound. Written and recorded in a carriage house in Brooklyn, the album's special guests include actress/performance artist Ann Magnuson, UK musician Gabriel Olegovich, and legendary electronic collagist Steven Stein.
Fischerspooner "We Are Electric" official music video
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