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共12首歌曲

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艺人
Belle and Sebastian
语种
英语
厂牌
Jeepster
发行时间
2000年06月05日
专辑类别
录音室专辑

专辑介绍

回顾在2000年出版的第四张专辑Fold Your Hands Child, You Walk Like A Peasant前,B&S破戒地发表了一张单曲Legal Man(以往他们只有出版EP)、拍摄MV,继而亮相Top Of The Pops,一切都是他们走红后(扬威99年Brit Awards)作风低调不再的举动。也许鑑于这种种因素,Fold Your Hands Child, You Walk Like A Peasant是他们评价较低的一张作品。平心而论,碟内教人听得怦然心动的曲目仍比比皆是、动听依旧,只是某程度上有原地踏步之嫌。看到是他们的高处不胜寒处境,形成这张处景尴尬的作品。

也许那个「听B&S就只听Tigermilk、If You’re Feeling Sinster和The Boy With The Arab Strap便够了」的说法传到Stuart耳中,还是不甘再作为电影High Fidelity裡Jack Black把他们称之为的「惨情傢伙的音乐」(Sad bastard music),他誓要从这个胡同裡豁出去,走向豁然的音乐情味。

若然不把2002年的电影配乐专辑Storytelling视作B&S的官方专辑,那麽作为Fold Your Hands Child, You Walk Like A Peasant之后继专辑的Dear Catastrophe Waitress,正看到B&S所发生的蜕变。(袁志聪)

by Jason Ankeny

When Belle & Sebastian canceled several dates on their 1998 North American tour after cellist Isobel Campbell fell ill, many fans cried foul; couldn't the rest of the group have gone on without her? Of course not -- Belle & Sebastian is a band in the most democratic sense of the word, a point reinforced by Fold Your Hands Child, You Walk Like a Peasant, their fourth and most ambitiously eclectic album to date. Nominal frontman Stuart Murdoch recedes into the background even more than on The Boy With the Arab Strap, allowing bandmates like Campbell and Stevie Jackson to take on a greater share of the writing and vocal duties. Also like its predecessor, Fold Your Hands Child opts for a subtle, intimate palette that reveals its charms only in its own sweet time. It may be too subtle for its own good; even after repeated listens it fails to connect on any meaningful level. The record has many intriguing ideas (like the delicate "Beyond the Sunrise," which evokes the classic duets of Nancy Sinatra and Lee Hazlewood, and the vaguely rootsy "The Wrong Girl"), but few of the concepts seem fully developed. For better or worse, Fold Your Hands Child's best moments are those which hew most closely to the classic Belle & Sebastian sound -- that is, Stuart Murdoch songs. Though there's little advancement in his contributions, they capture the band's past glories. The radiant "Woman's Realm" is a dead ringer for The Boy With the Arab Strap's title cut, while "The Model" retreads so much lyrical and musical ground it could be a self-parody. Still, the album provokes an intriguing question: Belle & Sebastian may be a band, not Stuart Murdoch's solo project, but is that a good thing?


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