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2009年09月28日

低限之騷動:David Sylvian -- MANAFON


試聽

延續《Blemish》的冷冽疏離，Sylvian在《Manafon》中有更完整的氛圍呈現，邀請合作的樂手可說是實驗樂界的明星陣容：包括英國殿堂級即興色士風手Evan Parker、老牌實驗即興團體AMM的結他手Keith Rowe和鋼琴家John Tilbury；奧地利當前實驗電音紅人Christian Fennesz、低限即興吉他手Burkhard Stangl，還有著名減法主義即興四重奏的其中兩位成員Werner Dafeldecker跟Michael Moser；日本即興噪音領導者大友良英 (Otomo Yoshihide)與Sachiko M.等等。


Sylvian那自溺的中低嗓音，在《Manafon》中依然佔據無可取代的核心位置，他沒有嘗試把自己的嗓音變成“即興樂器”，他還是透過自己的招牌唱腔在說／唱有關孤獨與失落，各路即興音樂人則以他們對聲音的獨特把握，以低限的手法將歌詞的內在荒涼進一步聲響化，也把整個荒涼寂寥卻暗藏騷動的氛圍推向極致。個人特別喜歡當中的一首“The Greatest Living Englishman”，Tetuzi Akiyama與大友良英左右兩邊的有料吉他、Sachiko M.的正弦波與T.Nakamura的no-input mixer，加上Tilbury的鋼琴聲，一切點到即止恰到好處，大量留白襯托Sylvian唱出那充滿死亡意象的自殺遺書般歌詞，雖然沒有易記旋律與節奏，卻無損音樂傳遞出來的強烈意象。或許換個角度想，年過五十的Sylvian其實變得不多，也沒有離大家很遠。（nosna）







On Manafon, Sylvian pursues “a completely modern kind of chamber music. Intimate, dynamic, emotive, democratic, economical.” In sessions in London, Vienna, and Tokyo, Sylvian assembled the world’s leading improvisers and innovators, artists who explore free improvisation, space-specific performance, and live electronics. From Evan Parker and Keith Rowe, to Fennesz and members of Polwechsel, to Sachiko M and Otomo Yoshihide, the musicians provide both a backdrop and a counterweight to his own vocal performances – which, minus one instrumental, are nakedly the center of each piece.  Sylvian’s voice has never been so dominant or so striking, and his resonant tenor and deliberate vibrato captivate the listener from the start of “Small Metal Gods.” Its prominence would come off as egotistical – except that each performance is an exercise in self-exposure, and each character study is written in the third-person, to allow the maximum detachment. 

Posted by pintomusica at 樂多Roodo! │14:22 │回應(0) │引用(0) │實驗 EXPERIMENTAL
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