Messiah Ensemble

sasasasa
2016-05-21 看过
The cover is good, and the gatefold is great, and the music itself, is pure perfection. He was distinguishable before, now he's inimitable.



"Over the last 18 years I’ve accrued a large collection of about 50 distinct musical instruments and have spent tens of thousands of hours trying to develop my own voice and technique for each of them."

这段话真正可怕的地方在于,过去这几年,这个革命家所做出的作品的编曲,是实实在在地,在变得更加深层,更加复杂。

William Ryan Fritch过去这些年在钻研些什么实在很难猜?圣经?宗教?哲学?历史?毕竟没多少人会去想着把类似修正主义这种 "value it or ignore it" 的东西往自己的唱片里扔并且直接围绕它去打造一张唱片... 不,也可能是两张,因为他又写出了这种歌词:
"Though there is little new to learn that we haven't already forgot,
and little more to say than what we've been fed."

又或者
"Disregard the past and revel in all these unforeseen mistakes."
"Disregard the past, repeat the same mistakes."

又或者再去找之前合作过的DM Smith,以历史的名义,以救世主的身份在一片混沌中唱着:
Where did that sound come from?
Am I awake...Am I awake?
Where has my father gone.
Am I awake?
Oh God, the damage done.
My arms and legs
Look what the fire's won
My arms and legs

<New Words For Old Wounds>是Leave Me Sessions的最终章,也没多少人会真的能保证在一个series的最终章,交出一份最具侵略性,最具情绪共鸣的作品。他的作品一向听上去非常 "广阔",那种最具标志性的自然的 "极具历史感的混沌感" 在最终章里毫无保留的爆炸了开来, 几乎是要冲破你的耳机。
可是我对这个人能说的真的没剩多少了:
①最终章的人声部分是他所有作品最多的一次。
②这个人会几十样乐器,所以他可以一个人DIY出N个管弦乐编制,像他过去干过无数次的那样。
③他对宗教文化历史人类学这些东西过度沉迷。
④基于①②③和别的一些有的没的,这张唱片,哦不,艺术作品,实在没什么可能会让人讨厌起来。
⑤Masterpiece之类的词太老套了。

可是他其实还是个普通人。
作为父亲,他也会为了孩子做出像Floats By (feat. Powerdove)这样可爱的摇篮曲,唱着:
Nice and easy, float tide
Floats by on melodies of song
I feel it... The sweet, sweet tide
Floats by on melodies of song.

作为朋友,他会为了那天在巴黎的他的朋友祈祷,唱着:
The empty helpless prayer that cries out into the unknown...
or the rounds and rounds of shots fired into the faceless dark?
Oh how little we know about living in peace.

说到底,只能用一句话形容这个人的话:这是一个将作曲速度和作曲质量和作品内涵三者兼顾到能让人无奈地笑出来的不可思议的天才,艺术家。

He was born to make music, and art.

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