shoegaze
那些被焚烧的字 豆瓣
7.7 (22 个评分) Dear Eloise / 亲爱的艾洛伊丝 类型: 摇滚
发布日期 2010年10月15日 出版发行: 兵马司
有些梦一醒来就消失了,但是这个不是,如果我梦见了你在等我,我亲爱的艾洛伊丝,那么你一定还在等,当有人唱著歌回家的时候--Robert Capa,《信札集》,1947
制作人:孙霞、杨海崧。录音师:李亮。混音师:赵明义。母带师:黄宇。
录音棚:13号录音棚。母带棚:13号录音棚。出品人:迈克尔 帕迪斯。
乐器演奏:亲爱的艾洛伊丝。词曲创作:亲爱的艾洛伊丝。封套设计:候鸽。
Smile 豆瓣
7.7 (10 个评分) Ride 类型: 摇滚
发布日期 1990年1月1日 出版发行: Warner Bros / Wea
初生之犢不畏虎。
长眠 豆瓣
Crocodiles 类型: 摇滚
发布日期 2010年9月13日 出版发行: Fat Possum Records
Nowhere 豆瓣
8.8 (107 个评分) Ride 类型: 摇滚
发布日期 1990年1月1日 出版发行: Creation Records
Nowhere seems to hold consensus as the second-best record of the shoegaze era, and with very good reason. All of the common words, phrases, and adjectives commonly used with the short-lived subgenre fit properly here, and they're all positive, every one of them. Whir, whoosh, haze, swirl, ad nauseum -- this record holds all of these elements at their most exciting and mastered. But in the end, great pop records necessitate quality songs, which Nowhere delivers throughout. Undeniably, it's Ride's zenith -- dense, tight, hypnotic. "Seagull" serves as a dynamic opener; after a couple seconds of light feedback, bassist Steve Queralt kicks in with a rubbery, elliptical line (reminiscent of a certain Beatles song), which is soon followed by Andy Bell and Mark Gardener's guitar twists and Loz Colbert's alternately gentle and punishing drumming. After the upbeat "Kaleidoscope," the record falls into a tempo lull that initially seems impenetrable and meandering. However, patience reveals a five-song suite of sorts, full of lovely instrumental passages that are punctuated with violent jabs of manic guitars. The endlessly escalating "Polar Bear" is a high point, featuring expertly placed tom rolls from Colbert. The tempo picks up for the closing "Vapour Trail," a wistful pop song with chiming background guitars galore and mournful strings to close it out. The U.S. version was bolstered significantly with the remainder of the Fall EP ("Dreams Burn Down" having reappeared earlier in the record). "Taste" is one of their finest pure pop numbers; the moody/driving "Here and Now" rates well, and the five-minute "Nowhere" is a nasty distorto-freakout. [Nowhere was remastered and reissued by Ignition U.K. in 2001. Added to the 11 tracks featured on Sire's U.S. edition are the four selections from the equally wondrous Today Forever.]
Scar 豆瓣
Lush 类型: 摇滚
发布日期 1989年10月9日 出版发行: 4AD
LUSH来自英国著名独立音乐大本营/唱片公司4AD。独立公司的意思是指不附庸于任何一家超级垄断唱片公司址下,完全实行自立、自主的独立操作原则;更重要的是每个独立唱片公司都有一个个性强烈的音乐指向/氛围,即其旗下的乐队/个人都有一个大概统一的音乐风格范畴;另外,这类唱片公司一般是将艺术家创作的自由度放到最大,而不会为了商业效果而去过分的约束、限制。4AD是这一领域佼佼者,它不但坚持了20年屹立不倒,不为大公司所吞并,而且始终坚持了自己独立的音乐态度。
显微城堡 豆瓣
8.7 (86 个评分) Deerhunter 类型: 摇滚
发布日期 2008年10月28日 出版发行: Kranky
离开地心引力最快的捷径是忧郁。
不知道,多愁善感是不是一种容易让人聚焦的方式。 我们自以为理解世界的方式比人复杂,我们自以为别人看不见我们明白的视野,我们自以为拥抱的价值如此出世,我们自以为云淡风轻是韬光养晦,我们自以为忧郁皱眉是领悟世界的捷径。
不晓得,有多少人和我一样,听到Deerhunter的「广场恐惧症」(Agoraphobia)时,心头为之一震。 原来,是的,我长久以来一直渴望这样的音乐节奏,四四拍,不徐不急地缓缓进前,歌词里的文字,看似无病呻吟,却又如此精准地在心头上画一刀。 幽幽地无法自制,反复按下repeat,我们都需要一种寂语,在垂眼昏厥时的安稳。
去年被Deerhunter第二张专辑《Cryptograms》那股病态魅力纠缠许久的黑洞体验,仍记忆犹新,才一晃眼,这群以主唱Bradford Cox为首的亚特兰大五人组,一次推出两张新作,且若性子较急,年中已可透过管道完整听见。 原先对Bradford Cox的猜测与想象,也藉由去年底一场Deerhunter演出,幻化为真实。不顾纽约法条,他在台上抽烟,吞云吐雾的同时对台下观众说:「我好想念妈妈!」那景况听来滑稽,但不知怎的,人在现场,竟感到有点鼻酸。即便在独立摇滚阵营,Bradford Cox仍是一名怪到骨子里的咖,然他的痴与狂,才华与自卑,正使Deerhunter处处展露着用力拉扯后的真实痕迹,他们的音乐,自然也勾人魂魄。
强烈的乐团性格使然,对他们感冒的人不少,然喜欢他们的人,却也慢慢增加。选在My Bloody Valentine正式复合,西岸的No Age也带来成熟新作的2008年发表《Cryptograms》的接续作品,与其说曲风同样深受Shoegazing影响的Deerhunter想证明什么,不如说他们寻求的是一种乐曲上的对话,无论对前辈的示意,或与同侪的应和。
《Microcastle》与《Cryptograms》不同之处,是流畅的圆融感。这么说,不代表《Cryptograms》首尾不一,而是它前后半部的差异性极为显著,毕竟乐团只花了两天录制,并将两天的成果按照时间顺序铺排下来,未将它们并置在一起。因此,听着《Cryptograms》便可得出前半部以长篇演奏曲为主,后半部以传统曲势为主的印象,而那确实也是乐团经由两个Session试图呈现的歧异风格。
反观《Microcastle》,由于花了一周录制,团员间的沟通与概念发想的时间都更充足,专辑没有一个鲜明的分隔线,呈现出圆形循环的一致感。Bradford Cox苍白贫血的嗓子仍是Deerhunter最迷离的声音表情之一,但此回吉他手Lockett Pundt也分担了不少歌唱任务,贝斯手Josh Fauver也主理了好几首歌(包括全辑最醒目的必杀曲目,犹如商借了Sonic Youth最流畅吉他旋律线的〈Nothing Ever Happened〉)。换言之,《Microcastle》更像一份团队作业,并非仅是Bradford Cox单打独斗的成品。
虽然调子更动听了,Deerhunter并未在编曲上妥协。突然的中断、定格,乃至失焦与摇晃,随后急速换档爬上天梯,并吓你一跳。从多数定义来看,《Microcastle》无法归类在传统摇滚的范畴,那荡漾流转的Kranky厂牌式环境声景、走在车库庞克与艺术庞克间的羊肠小道,仍旧布满了瓦砾,只是Deerhunter选择穿上一双更松软的鞋子,脚步声,自然也轻柔许多。
伴随专辑《Weird Era Cont.》不只是填充功能而已,是一张完成度极高、拥有自主生命力的个体。更具水感,诡异与失重,事实上其中几首强歌,甚至胜过《Microcastle》的弱歌,譬如长十分钟的结尾曲〈Calvary Scars II/Aux Out〉,呼应的是《Microcastle》里的〈Calvary Scars〉,将一分半的原作延长为无边际的迷幻奥德赛,是神游太虚的必备曲目。而这种一鱼二吃的手法,自然教人想起Radiohead两个版本的〈Morning Bell〉(分别出现于《Kid A》与《Amnesiac》)。
连同年初的Side-Project乐团Atlas Sound,Bradford Cox已于2008年推出三张质量上乘的作品,产量惊人。却也不免让人担心,这种狂烧蜡烛式的旺盛创作力,会否让他原已不良的病体,更显憔悴,终至成为下一名摇滚殉道者?
Chain Gang Of Love 豆瓣
8.2 (9 个评分) The Raveonettes 类型: 摇滚
发布日期 2003年9月2日 出版发行: Sony
丹麦双人乐队The Raveonettes的首张专辑是张怀旧风格的现代流行乐专辑。他们瞄准了永恒的主题:流行乐。13首简练、失真、扭曲的曲目加起来也只有33分钟。首支单曲是情绪上瓦解、分裂的《那伟大的爱之声》(That Great Love Sound)。这张专辑展示给人们的是一个交替变换世界里的怀旧情结。如果你沉迷于60年代的流行乐和旋律优美的车库音乐的话,那你就会非常喜欢这张专辑。
全自动 豆瓣
8.4 (37 个评分) The Jesus And Mary Chain 类型: 摇滚
发布日期 1989年1月1日 出版发行: Blanco y Negro Records
The fourth full length release from Scottish brothers Jim &William Reid's post-modern group. No longer available in theU.S., the 1989 album was their most commercially ambitiouseffort in which they buffed their trademark feedback to aglossy sonic sheen that sounded much like their backing bandwas actually ZZ Top (during that band's high octane years of1983-1985). 12 tracks, including the singles 'Blues From AGun' & their original version of 'Head On' (later coverd bythe Pixies), plus gems like 'Coast To Coast', 'BetweenPlanets' and 'UV Ray'. A Blanco Y Negro Records release.
黑土地 豆瓣
9.2 (173 个评分) The Jesus and Mary Chain 类型: 摇滚
发布日期 1987年1月1日 出版发行: Warner Bros. Records
Feeling no doubt burdened by the various claims of being the new Sex Pistols, and likely fed up with accusations that the walls of feedback were their own trick, the Reid brothers underwent a bit of a rethink with Darklands. The end result must have fallen squarely between two camps -- hardly eligible for sunny commercial airplay, not quite as flailing as the earliest efforts -- but, from a distance, this is an appealing, enjoyable record. Songs were often longer while the album itself was shorter than Psychocandy, walls of sound were often stripped away in favor of calmer classic rock twang and groove, while William Reid took the lead vocal at points, showing he had a slightly sweeter, wistful tone in comparison to his brother. However, the changes on Darklands can be overstated -- the basic formula at the heart of the band (inspired plagiarism of melodies and lyrics alike, plenty of reverb, etc.) stayed pretty much the same, even if the mixes were cleaned up -- compare "Down on Me" to any Psychocandy cut for a good example of the difference. The use of drum machines in place of Bobby Gillespie's rumble tended to enforce the newer focus, but at the album's best, such a seeming dichotomy didn't cause too much worry. "April Skies" made for a great single, while the soaring-in-spite-of-itself "Happy When It Rains" was another winner, one that Garbage more or less made its own some years later for its own similarly titled hit. William's singing turns made for other highlights as well, notably "Nine Million Rainy Days," the overt misery of the title suiting the dark crawl of the song, and the lengthy lament "On the Wall." Darklands is no Psychocandy in the end -- nothing the band released later ever was -- but it's still a good listen.
Psychocandy 豆瓣
8.9 (114 个评分) The Jesus And Mary Chain 类型: 摇滚
发布日期 1985年1月1日 出版发行: Wea International
Shoegazing(自赏摇滚)的奠基者The Jesus and Mary Chain的首张专辑,一般也认为是首张Shoegazing专辑,他们在其中演练了各种吉他噪音和梦幻般的和声,"Just Like Honey," "My Little Underground" 和 "Never Understand"都被认为是另类摇滚的经典。