Why Should the Fire Die?
- 艺人
- Nickel Creek
- 语种
- 英语
- 厂牌
- Sugar Hill
- 发行时间
- 2005年08月09日
- 专辑类别
- 录音室专辑
专辑介绍
by James Christopher Monger
Few aspiring bluegrass artists have tackled the genre as unpredictably as Nickel Creek. For their third offering, the precocious trio have ditched longtime producer Alison Krauss in favor of Tony Berg and Eric Valentine (Smash Mouth, Queens of the Stone Age, Good Charlotte), and quietly crafted one of the most explosive acoustic records of the year. Longtime fans who were mystified by Chris Thile's experimental 2004 solo release Deceiver may cock their collective heads in dismay, but those who appreciate the group's searing musicianship, orgasmic harmonies, and genre-bending arrangements will no doubt wear out their copies of Why Should the Fire Die? within the first month of ownership. Darker, colder, and infinitely more aggressive than their previous offerings, WSTFD is -- in spirit only -- the progressive bluegrass/folk-pop genre's reply to Radiohead's Kid A. &When in Rome,& with its radio signal crackle and full-band boot stomps asks, &Where can a dead man go/A question with an answer only dead men know.& It's a chilly way to open a record, but it's also a declaration of independence from three friends who have known nothing but the stage since they were in single digits, and are determined to meet their mid-twenties head on. There's a newfound penchant for percussion throughout WSTFD that's not nearly as invasive as purists might think. While the ferocious &Helena& is the only track that features actual drums, bassist Mark Schatz is veritable one-man drum corps, dropping sinister slides and buzz-filled ringers that when paired with Thile and Sean Watkins's mandolin/mandola/guitar work is pure analogue thunder. This combination is at its most effective on the moody Gillian Welch-meets-the Beach Boys majesty of the album's brooding centerpiece, &Eveline.& A masterful display of dynamics, it blurs the line between pop, progressive rock, and country with a magic marker the size of Texas. Even the more traditional numbers like &Jealous of the Moon,& &Can't Complain,& and &Tomorrow Is a Long Time& -- the latter, sung by the honey-throated Sara Watkins, proves once and for all that Bob Dylan songs were placed on this earth to be interpreted by others -- are infused with the kind of electricity usually reserved for bands with vintage amplifiers and substance abuse problems. Why Should the Fire Die? is a brave album that warrants more than a passing glance from country and bluegrass purists, and the full support of the indie rock/folk/pop community.
最新简评（共10条）
- @想飞越的橙子同学(生于白昼，隐与黑夜。)：依然如同火塘中的光芒一样温暖。
- @Carmen_Free：我的五年内年度最佳
- @Nacho(Until then.)：看起来好好玩的样子
- @叶公瑾(我还没想好要写什么...)：Why Should the Fire Die Nickel Creek
- @♫ Shadow(shadow)：封面好美
- @plwstk：不错
- @未知生物：下不了，没米了
- @麦小西：现在听来依然很爱
- @Pan(暂无签名~)：Nickel Creek
- @Hey：美国传媒誉为草根音乐的新希望三人组合，《Why Should the Fire Die》荣获2006年葛莱美奖最佳乡村演奏曲，最佳当代民谣专辑提名！《This Side》荣获2003年葛莱美奖最佳当代民谣专辑与最佳乡村演奏曲提名，发行首周空降乡村专辑榜亚军以及流行专辑榜第18名。 吉他手Sean Watkins、小提琴手Sara Watkins兄妹档与曼陀林乐手Chris Thile兼具传统风味的流行民谣词曲与才气洋溢的听觉触感，回映出来自古典、爵士、摇滚乐风的影响力，这支三人组合作出了新世代最道地的美国南方音乐…… Nickel Creek乐团出道时间其实已经不短，早期的他们是作为一个巡演乐队的形式存在，直到2000年才发行了首张同名专辑《Nickel Creek》，反响不俗。2003年的《This Side》更是获得45届格莱美奖最佳现代民谣专辑的肯定。他们的音乐在保有了传统蓝草音乐的草根味的同时，对摇滚、当代民谣、古典和流行音乐的元素都有所取材。在流行、电子和说唱乐等诸多流派方兴未艾的汹涌大潮面前，美国传统乡村音乐的颓势已经由来已久，而Nickel Creek的成功在于他们折中主义的智慧，留住了美国南方音乐的忠实拥趸之外，也让自己的作品洗脱了那种老旧乡村乐的“拿腔拿调”的乡土味，更显活力。 《Why Should the Fire Die》是Nickel Creek三人作为一个整体的音乐组合发行的第三张录音室唱片(Sean Watkins和Chris Thile都曾经发行过个人唱片)。他们这一次的步子相对来说迈得更大，更多地担当了传统根源的蓝草音乐革新者的角色。这点从舍弃了一直以来为他们的成功铺平道路担任制作人的蓝草天后Alison Krauss，而请来了老牌硬摇滚乐队QueensOfTheStoneAge的制作人Eric Valentine和Tony Berg(摇滚女星Aimee Mann的制作人)，这其中的缘由可能有很多种，但是至少可以看出Nickel Creek对改变与创新的勇敢与坚定。 如果我们只听到《Doubting Thomas》这样的小清新，极有可能以为这是出自某个瑞典或者是北欧的一支indiefolk乐队的手笔，它关乎灵魂与情感、十足的内心气，让人对NickelCreek有了一种惊喜过后的期待。原声器乐《First and Last Waltz》则安安静静地塑造了一首easylistening曲，还有《Somebody More Like You》中的techno节奏……这样的音乐出现在一支蓝草乐团的唱片中是足够令人惊异的，而到了《Helena》一曲的后半程和副歌部分，轰鸣的鼓点和凌厉的贝斯奔涌而来，我们听到的根本就是一支当代英伦摇滚曲(早期的乡村音乐没有鼓的编制)。 当然在《Stumptown》、《Eveline》、《Why Should The Fire Die?》这样的作品中我们还是看到了Nickel Creek保留的蓝草音乐的特征：快速的节拍、多声部演唱和主要的原声乐器编制，也正是这一份保留让我们相信Nickel Creek作品和他们音乐的根与土壤仍然紧紧相连，而且这种联系无论多久其实都无法割断的，即使前面是鼓声轰隆，那班卓琴上的一个小小转音又让人闻到了湿润的蓝草清香。 从Nickel Creek纵向的音乐脉络上看，他们是一队迂回前进的兵，第一张唱片的实验性到第二张唱片对蓝草音乐的某种回归，到今天《Why Should the Fire Die？》颇具先锋意识的探索，不见断脐之痛，渐显蜕变之美。