Midnight Boom

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共13首歌曲

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艺人: The Kills
语种: 英语
厂牌: Domino Recording Co
发行时间: 2008年03月18日
专辑类别: 录音室专辑

专辑介绍

★ 英国另类厂牌Domino旗下超反骨男女双人摇滚组合，第三张彻夜未眠创作大碟

★ 神似Shirley Manson (Garbage)的个性派女声，Placebo、Primal Scream等英国天团争相示好邀约

★ Urb、AMG四颗半星超高评价；Mojo、musicOMH、PopMatters、Drowned In Sound、Uncut、Billboard 一致四星等级讚誉推荐

★ All Music Guide：「他们成军以来最坚实、最变化多端，也最具原创性的一张专辑！」

★ PopMatters：「The Kills截至今日最超凡卓越的一张作品！」

★ Drowned In Sound：「如果你过去已经领受过他们的魅力，这次请准备好再次沉沦！」

★ Mojo：「他们的音乐独一无二！」

★ 由Jamie Hince与Alison Mosshart共同组成的双人摇滚乐队The Kills，因为精简俐落的成员架构，不时被拿来与The White Stripes相提并论。然而广大的乐评们却也不得不承认，The Kills的创作理念与音乐成果是独一无二的。来自美国佛罗里达的Alison Mosshart与来自英格兰Andover的Jamie Hince原本分属不同乐队，他们的生活原本是两条平行线，彼此虽然没有交集，却拥有十分相近的喜好与人生观。2000年他们在伦敦一家旅舍巧遇结识，而当他们先后离开原先效力的乐队后，才正式展开音乐上的合作关係，并逐渐体认到，原来对方正是自己寻觅多时的音乐良伴。两条终于重叠在一块的平行线，让过去只在脑海中翻腾流转的音乐理想，得以正式实现。为了能够更进一步合作，Alison Mosshart搬到英国伦敦，日渐熟稔的两人这才发现，原来两人在求学过程、音乐艺术的收藏上，具备许多意料之外的相似背景与喜好。由于过去已在错误的乐队与路途上，浪费掉太多时间，因此他们更加珍惜彼此一拍即合的良好默契。两人笑称对方是无可救药的控制狂，也因为这样，一男一女的两人阵容对他们而言，堪称是再完美不过的乐队形式。慧眼独具的英国新兴厂牌Domino，很早就注意到The Kills的发展潜力，并与他们签下唱片合约。2003年The Kills发表第一张以garage-punk风格为主的创作大碟《Keep on Your Mean Side》，2005年乐队发表第二张专辑《No Wow》，当时他们深受英国工业先驱Cabaret Voltaire与经典实验庞克乐团Suicide的影响，本张作品不仅背离首张专辑的方向，也被部份乐评形容这是排拒商业成就的自杀式行为。不过也正因为这样毫不妥协的摇滚精神，让The Kills被誉为近期独立乐坛，少数兼具胆识与想法的叛逆反骨组合。

★ 2008年3月The Kills在英美两地先后推出本张最新大碟《Midnight Boom》，众多乐评除了送上将近满分的评价，更一致认为这是他们成军以来最棒的专辑。大家都说The Kills虽然保有那份绝无仅有的酷劲，比起过往却显得更加亲切友善，也许他们正偷偷向商业靠拢，并且将大举攻佔主流市场？然而The Kills两位成员却将「亲切」与「商业化」视为一种负面的形容，他们虽然乐于敞开双臂拥抱新的乐迷朋友，却不容其它人怀疑他们的创作动机。当初结束《No Wow》将近15个月的宣传巡迴演出行程后，两人立刻在2006年1月展开全新专辑的筹备工作，完成了数首由原音乐器主奏的民谣作品后，两人才发现这与他们最初的构想有所出入，所以决定化整为零重新来过。这段期间他们偶然接触到一部60年代的纪录片，片中纪录一群小孩在美国校园内的故事，受到启发的两人决定谱写属于他们的游乐歌曲，本张《Midnight Boom》便是最后的成果。他们先后在美国洛衫矶与密西根两地录音，两人总是等到大家上床睡觉之际才进入录音室，常常工作到隔天上午10点左右，才又拖着疲累的身躯上床休息，他们最后乾脆根据这个日夜颠倒的录音习惯为本张专辑命名。在长达两个月左右的录音工作后，他们邀请到擅长处理节奏的製作人Xxxchang出马监製，在他的协助下，The Kills的作品确实更见粗暴直接，三人激盪出一种毫不拖泥带水的痛快。以专辑开场歌曲〈U.R.A. Fever〉为例，一开始竟然让人不禁想起Tricky早期与Martina Topley-Bird的合作关係；专业音乐杂志则把〈Cheap and Cheerful〉与布兰妮(Britney Spears)的〈Toxic〉相提并论。事实上，Alison Mosshart在多数作品中的声音表现，与Garbage的女主唱Shirley Manson十分神似。不过正如多数乐评所言：「他们的音乐是独一无二的！」，丰富多变的曲风与源源不绝的音乐创意，实在让人直呼过瘾！

by Heather Phares

In the three years between No Wow and Midnight Boom, it sounds like the Kills discovered that having fun is actually much cooler than searching for haughty minimalist rock perfection. While Keep on Your Mean Side and No Wow's sinuous snarls were about as savagely spare and sexy as it's possible to get, their minimalism bordered on monochromatic. Midnight Boom bleeds color, excitement, and emotion into VV and Hotel's music, transforming it into daring, dirty pop that is unrepentantly glamorous and tender, high-end and trashy, and it glitters like diamonds mixed with broken glass. It's even structured like a classic pop album, opening with two bold salvos: "U.R.A. Fever" fashions dial tones, cryptically sexy banter, a foot-stomping, hand-clapping beat, and sneering shards of guitar into a fiercely catchy single. It struts with the best of the Kills' previous work, but opens their sound to many more possibilities. "Cheap and Cheerful" gets even wilder, combining VV's high-maintenance sass with a rhythm forged out of slamming doors and coughing, approximating a collaboration between Joan Jett and Matmos. These songs, and the rest of Midnight Boom, are nearly as minimalist as the Kills' other albums, but the duo plays with sounds much more: spring-loaded guitars and fanciful, detailed beats pop up when least expected, but everything falls into place effortlessly. This may be the Kills' most processed, produced music, but it's some of their roughest and rawest-sounding, too, with "Alphabet Pony" and "Hook and Line" rocking just as hard, and with more conviction, than their earlier work. The Kills also bring more feeling to Midnight Boom, which is just as crucial -- and arguably, more daring -- to the album's brilliance as is the band's newfound sonic adventurousness. "Getting Down"'s cheeky, hip-shaking, babbling nonsense brings the fun of the Kills' best singles to the fore, as does "Sour Cherry," which makes the hand-jive rhythm sound hip for the first time in half a century (the nasty, buzzing, three-note guitar solo riding it probably helps). VV and Hotel don't save their soft and melodic sides for just a token ballad, as they've done before -- although Midnight Boom's big ballad, "Goodnight Bad Morning," comes on like the Velvets' "Sunday Morning" with the force of 40 more years of hangovers and comedowns fuelling it. "Black Balloon" is as epic as it is vulnerable, its slow-building majesty making it a standout. Even the semi-sweet electro rockabilly of "Last Day of Magic" has a yearning that resonates with a surprising depth. Best of all is "What New York Used to Be," a last hurrah that sounds urgent, not nostalgic, although its wall of staticky guitars come into focus like a memory. A list of everything that once was great, it's a song about not being too cool to care, even if it's delivered with a wink. Midnight Boom is the Kills' most consistent, varied, and inventive album yet, and proof that passion and creativity trump cool any day.

Midnight Boom

专辑介绍

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