Folk-Rock
Year of Meteors 豆瓣
Laura Veirs
类型:
民谣
发布日期 2005年1月1日
出版发行:
Nonesuch
来自西雅图的创作女歌手Laura Veirs，除了99年的首张同名专辑外，2003年在欧洲曾在Cocteau Twins的Bella Union厂牌下发行“Carbon Glacier”，获得英国传媒大力赞赏，The Guardian称赞：‘出奇的优美’，Uncut还给予5颗星满分高评并选为当月最佳专辑。
受到爵士吉他手Bill Frisell青睐引见后，与Nonesuch签约后也在美国发行。2005最新作品“Year Of Meteors”，Laura Veirs依旧散发出甜美、浪漫的民谣旋律之音。Q、Mojo、Uncut杂志与AMG音乐网站纷纷给予5颗星高评。
Seattle-based singer-songwriter Laura Veirs calls her 2005 Nonesuch release Year of Meteors "a road record." "It doesn't sound like one," she says, "but it is." Veirs had spent most of 2004 touring in support of the hauntingly beautiful Carbon Glacier, her breakthrough effort and Nonesuch debut. She started out in Europe, where she was greeted with overwhelming critical praise and sold-out houses. Then Veirs worked her way around the States, where she was still just being discovered (though the reviews were also often superlative). The experience was at times heady, other times grueling, and she incorporated it into her new songs. However, given Veirs' vividly descriptive yet dream-like lyrics, you won't learn anything about her actual itinerary. Year of Meteors is no ordinary travelogue, but it will definitely take you on a remarkable journey.
"All the songs are about transportation, motion," Veirs explains. "If you listen to the words, there's always some movement happening, whether it's greyhounds running down a mountainside as mud flows or a person flying off into the sun or someone lurking around the bottom of the sea. I think that's because I was in motion so much of the year. Somehow I knew that all the traveling would come into the songs, but I wanted to remain focused on the bigger things, not just life on the road, so that's why there are no direct references to that." There are, she hastens to add, "love songs related to that experience, like the struggles of being away from home and your partner. Or having my band and the different relationships I have formulated, many of them very close because of the intense circumstances of touring. So it's a relationship record too."
And, finally, it's a band record: a fertile collaboration between Veirs and her studio band, the Tortured Souls (who often play live with her)--Steve Moore (piano, organs), Karl Blau (bass, guitar, vocals), and producer Tucker Martine (drums, percussion, treatments). Viola player Eyvind Kang, another longtime associate, also sat in. As Veirs explains, "When we talked about making the album, we decided to record a lot of these songs as a band first, then do some more of the solo type of songs. It had always been the opposite before, I would go in and record the more quiet guitar parts and sing. This time, half of the record or more are tracks that we did live as a band first. Then we went in and recorded the quieter ones. We approached this from the beginning more as a band album and it really turned out that way."
受到爵士吉他手Bill Frisell青睐引见后，与Nonesuch签约后也在美国发行。2005最新作品“Year Of Meteors”，Laura Veirs依旧散发出甜美、浪漫的民谣旋律之音。Q、Mojo、Uncut杂志与AMG音乐网站纷纷给予5颗星高评。
Seattle-based singer-songwriter Laura Veirs calls her 2005 Nonesuch release Year of Meteors "a road record." "It doesn't sound like one," she says, "but it is." Veirs had spent most of 2004 touring in support of the hauntingly beautiful Carbon Glacier, her breakthrough effort and Nonesuch debut. She started out in Europe, where she was greeted with overwhelming critical praise and sold-out houses. Then Veirs worked her way around the States, where she was still just being discovered (though the reviews were also often superlative). The experience was at times heady, other times grueling, and she incorporated it into her new songs. However, given Veirs' vividly descriptive yet dream-like lyrics, you won't learn anything about her actual itinerary. Year of Meteors is no ordinary travelogue, but it will definitely take you on a remarkable journey.
"All the songs are about transportation, motion," Veirs explains. "If you listen to the words, there's always some movement happening, whether it's greyhounds running down a mountainside as mud flows or a person flying off into the sun or someone lurking around the bottom of the sea. I think that's because I was in motion so much of the year. Somehow I knew that all the traveling would come into the songs, but I wanted to remain focused on the bigger things, not just life on the road, so that's why there are no direct references to that." There are, she hastens to add, "love songs related to that experience, like the struggles of being away from home and your partner. Or having my band and the different relationships I have formulated, many of them very close because of the intense circumstances of touring. So it's a relationship record too."
And, finally, it's a band record: a fertile collaboration between Veirs and her studio band, the Tortured Souls (who often play live with her)--Steve Moore (piano, organs), Karl Blau (bass, guitar, vocals), and producer Tucker Martine (drums, percussion, treatments). Viola player Eyvind Kang, another longtime associate, also sat in. As Veirs explains, "When we talked about making the album, we decided to record a lot of these songs as a band first, then do some more of the solo type of songs. It had always been the opposite before, I would go in and record the more quiet guitar parts and sing. This time, half of the record or more are tracks that we did live as a band first. Then we went in and recorded the quieter ones. We approached this from the beginning more as a band album and it really turned out that way."
Chaos & Systems 豆瓣
Sundays & Cybele
类型:
摇滚
发布日期 2017年2月24日
出版发行:
Beyond Beyond is Beyond Records
“Invention, it must be humbly admitted,” as Mary Shelley humbly admitted in her introduction to her 1818 novel “Frankenstein,” “does not consist in creating out of void, but out of chaos.”
Not out of void, but out of Tokyo, Sundays & Cybele have created “Chaos & Systems,” the monstrously overwhelming new album that could well serve as the band’s mission statement.
After (loudly) announcing their intentions on 2015’s ear-popping “Heaven,” the initial impression of “Chaos & Systems” leads one to believe that the systems have dominion over the chaos. The introductory title track begins the album as a piece of post-motorik perfection, so subtle and symmetrical as to sound wound by master clockmakers. But Sundays & Cybele, like all good lysergic psychedelicists, exist largely outside of the boundaries of time, and it doesn't take long before the chaos rises, an amplified antidote to what the systems dare build.
In the hands of Sundays & Cybele, the chaos is no threat, but rather an essential counterpart to the band’s massive sonic structures. One without the other could be dull and unsatisfying; throughout “Chaos & Systems,” Sundays & Cybele reject being defined by either.
By the time the vocal cocoon breaks and the band flies unrestrained into the nearly ten-minute time-warp of “Butterfly’s Dream,” it’s clear that the band’s creation is moving and breathing on its own terms. Threatening? Only in the way that the song toys with being built almost completely on a single string-bending blast, a clarion call from a crypto-“Caravanserai”-esque creature – yet one that contains seemingly endless dimensions of decibels and depth. Enlightening? Only in the way that Sundays & Cybele can be.
“Tell Me the Name of that Flower” presents itself as more of a regal request than a dogmatic demand, further evidence of an album in full bloom, here with an almost demented-Donovan appeal to the interplay of chaos (the never-too-far away electric guitar incantations) and systems (perfectly perfumed pastoral psych from Japan, anyone?). “Brujo” is the upbeat amuse-bouche of the album, enchanting in its echoing insistence, while serving as a worthy prelude to the album’s closing argument, “Paradise Come,” thirteen-minutes plus of poetically arranged acid-rock that threatens to leave listeners breathless, headbands drenched in sweat, murmuring, “Milton never sounded quite like this.”
“Chaos & Systems” offers not a choice, but a declaration: you can’t have one without the other. Endowed with both, the cosmic creature created by Sundays & Cybele has come to life.
-Ryan Muldoon
released February 24, 2017
Not out of void, but out of Tokyo, Sundays & Cybele have created “Chaos & Systems,” the monstrously overwhelming new album that could well serve as the band’s mission statement.
After (loudly) announcing their intentions on 2015’s ear-popping “Heaven,” the initial impression of “Chaos & Systems” leads one to believe that the systems have dominion over the chaos. The introductory title track begins the album as a piece of post-motorik perfection, so subtle and symmetrical as to sound wound by master clockmakers. But Sundays & Cybele, like all good lysergic psychedelicists, exist largely outside of the boundaries of time, and it doesn't take long before the chaos rises, an amplified antidote to what the systems dare build.
In the hands of Sundays & Cybele, the chaos is no threat, but rather an essential counterpart to the band’s massive sonic structures. One without the other could be dull and unsatisfying; throughout “Chaos & Systems,” Sundays & Cybele reject being defined by either.
By the time the vocal cocoon breaks and the band flies unrestrained into the nearly ten-minute time-warp of “Butterfly’s Dream,” it’s clear that the band’s creation is moving and breathing on its own terms. Threatening? Only in the way that the song toys with being built almost completely on a single string-bending blast, a clarion call from a crypto-“Caravanserai”-esque creature – yet one that contains seemingly endless dimensions of decibels and depth. Enlightening? Only in the way that Sundays & Cybele can be.
“Tell Me the Name of that Flower” presents itself as more of a regal request than a dogmatic demand, further evidence of an album in full bloom, here with an almost demented-Donovan appeal to the interplay of chaos (the never-too-far away electric guitar incantations) and systems (perfectly perfumed pastoral psych from Japan, anyone?). “Brujo” is the upbeat amuse-bouche of the album, enchanting in its echoing insistence, while serving as a worthy prelude to the album’s closing argument, “Paradise Come,” thirteen-minutes plus of poetically arranged acid-rock that threatens to leave listeners breathless, headbands drenched in sweat, murmuring, “Milton never sounded quite like this.”
“Chaos & Systems” offers not a choice, but a declaration: you can’t have one without the other. Endowed with both, the cosmic creature created by Sundays & Cybele has come to life.
-Ryan Muldoon
released February 24, 2017