最最最最棒的专辑
评语:Massive in every sense of the word. 70 minutes of fragile, beautiful, minimal post-rock played by nothing but a violin, a guitar and drum kit, with sprinklings of piano and harmonium. I could go for hours gushing over this, since it's pretty much been my life's soundtrack when I'm feeling blue. I think the best thing about it is how original it manages to sound, despite the guitarist's lack of expensive pedals and amps.
评语:The newest addition and possibly newest album on this list. I was never really too into Odd Future but when Earl dropped this and Solace, it was hard for me not to take notice. I live in a small UK town in the North-east of England, and even though this release is American as apple pie, there's something, admittedly hard to really describe, in the dark, hermetic vibes of this album that really resonate within me and evokes strong feelings of my hometown. The eerily-lit suburban streets, walking home at 3am from a house party or something, the childhood halloweens... It's also super short, but in the good way that warrants repeat listens, rather than leaving you short-changed. These songs go on just as long as they have too, masterfully self-aware, and never overstaying their welcome. The production is really left-field, but not in an offputtingly avant-garde kind of way, and Earl's verses are on top form. Really just an all-round winner, and deserves to be considered a modern classic of hip-hop.
评语:Possibly the first jazz record I bought, and remains my favourite. Much as I dig jazz from the 60's, a good deal of albums never really felt like an album-experience, more a collection of songs, but Undercurrent feels almost like a concept album that ebbs and floes like the waves of the sea. The interplay between Jim and Bill is unparalelled, and their restraint speaks more than any amounts of jazz-wank ever could. Undercurrent also boasts my favourite album cover of all time.
评语:Not as good as the other Miles record on this list, but it's my second favourite thing this guy did. A little more varied than Big Fun, Get Up With It touches on jazz fusion, blues, ambient-jazz, and this one track called Rated X, which is the heaviest goddamn song ever recorded. People must have flipped OUT when they heard this in the mid 70's. The best track, though, is the half-an-hour long opener, He Loved Him Madly. Endlessly unique and original, it's the most beautiful piece of music ever. A threnody to the late Duke Ellington, this piece is really laid-back, which is surprising, considering it has three guitarists on it. It's pretty dark, and somehow relaxing at the same time. The flutes make it. Then the rest of the album is groovy and funky as hell. Get Up With It has it all.
评语:I love bossa nova. Combining ballads, sambas, nylon string guitars, lots of jangling percussion and all the romance you would expect from Brazilian singers in the 60s, I think it's one of the most sublime and subtle music genres out there. Sadly, it's very hard for me to find the kind of bossa that really floats my boat. Sometimes it gets too chill and sounds like elevator music, some of it is a little too out-there for me, the kind that paves the way for Tropicalia silliness, so it's hard to find a balance. O Canto Livre De Nara, however, is that balance. It's laid-back: Her voice is one of the most relaxing, beautiful forces of nature that ever was. It's out-there: The songs on here are brave, jazzy flairs that climax, that change shapes, and covers lots of ground. The combination of the two results in this record, which is, from start-to-finish, the single most refreshing musical experience I've ever had. It's easy to take this record for granted, but think about it: This was recorded three years before The Beatles' White Album.
评语:Is to jazz what Post-rock is to... Well, rock. Don't dismiss these guys as a gimmick because of their hang drum schtick, these guys really have an ear for making really interesting songs. Much more serious than their debut, with songs like Clipper incorporating elements of free jazz, and Life Mask taking form of... Well, something fucking amazing, frankly.
评语:Lana has a really awesome sound that is an absolute godsend to modern pop music, and I can't stress how necessary she is; despite the fact that she seems a bit too tacky for critics to really cling onto, yet too artsy for the modern pop radio fan. She's really in between worlds, which is sort of tragic but if you can get behind her sound (which admittedly took me a little while) this is her magnum opus. Much as I like the regular Born to Die album, the Paradise edition feels like an extension of the original album more than an album with bonus tracks. I mean, it's longer than most movies, but it's still a hell of a ride.
来自:豆瓣音乐
表演者 : Sufjan Stevens
流派 : 民谣
发行时间 : 2003-07-01
流派 : 民谣
发行时间 : 2003-07-01
评语:So I ashamedly turned my nose up at Sufjan for the longest time. Call me a contrarian but when I first heard an indie singer constantly get shoved down my throat on end-of-year-lists, recommendations and memes, I just felt like there wasn't anything in it for me. Like, he's so omnipresent that there was going to be nothing there but inevitable disappointment for me. Fast forward 3 years and everything that annoyed me about Sufjan makes him an all-time favourite artist of mine now. The twee-ness of his early albums, the ambition, the constant reinvention while still feeling like Sufjan, the talent, the voice... As a musician, and this pains me to say, it kind of feels like Sufjan has made the albums I've always wanted to make, better than me, about 15 years before I would have even started recording. Take Michigan, it's a folk album at its heart, but it's so sprawling and epic, and touches on ambient, slowcore, post-rock, minimalism, Vince Guaraldi-esque jazz... It's fucking perfect. It's also a Winter staple of mine now, just like its sister album Illinois rocks my world each Summer.
评语:I dig the fuck out of Milo, and this is his magnus opus (so far). STFDC is a mercilessly short record, but is the very definition of a breath of fresh air. Teaming with Kenny Segal to give this album a really mellow and low-key jazzy atmosphere, this record takes the strengths of Milo's previous releases and builds upon them. The beats are still weird as shit but they're a lot more cohesive. Milo's verses are still very stream-of-consciousness but in a way that mixes surreal humour with noting beauty in things you take for granted or never really thought about. Oftentimes there are lines that make you think as well as laugh. Also the guest verses in this are among my favourites; Hemlock Ernst's in Souvenir is actually quite possibly my favourite guest verse in any hip-hop track ever.
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