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共5首歌曲

在网易云音乐打开

艺人: 惘闻
语种: 英语
厂牌: Weary Bird Records / Genjing Records / New Noise
发行时间: 2012年12月31日
专辑类别: 录音室专辑

专辑介绍

这张由瑞典实验乐队pg.lost和中国乐队惘闻发行的12寸黑胶证明了中国的音乐家正渐渐成为全球富有创造力的社区的伙伴之一。

pg.lost在这张唱片中收录了一组20分钟的组曲，“Desperdicio Parts I & II”，开场是犹如决断厄运般的意大利西部片风格缓缓进入舒适的后摇氛围，岩石崩裂般的时刻使听者陶醉，合着有力的旋律带着他们穿过怒海情涛。

惘闻擅长于反复、多次的在一首歌中酝酿由阴郁失落到饱含希望的情绪过程，音乐声音上的力量使他们为艰难时刻创造配乐。

在B面中，来自中国的五个人与炽烈的pg.lost相反，用三首内向、柔和的乐曲回应了pg.lost的音乐。“13th”是首由厚重、复杂吉他踏板回授控制的温暖、细碎的开场曲。

“乡音”是一个由温和的钟琴，风琴、细致的打击乐、高飞的吉他和小提琴轮番登台的小岛，像是暴风雨来前的短暂宁静。“鼠歌”听起来就像是一场雷暴，七分钟长的竭尽疯狂jam由旋律吉他和充满阳光的合成器交互支撑下来到了一个中点，在此之后，乐队把自己投向了电影中宣泄的场景，伴随着狂躁的吉他，之后天空变亮，一切如常，再次置若罔闻。

A面 / pg.lost

1. Desperdicio (part I)

2. Desperdicio (part II)

B面 / 惘闻

1. 13th

2. Homeland Accent

3. Mouse Song

pg.lost

Mattias Bhatt – 吉他

Martin Hjertstedt – 鼓

Gustav Almberg – 吉他

Kristian Karlsson – 贝司

惘闻

谢玉岗 – 吉他

耿鑫 – 吉他

徐增铮 – 贝司

周连江 – 鼓

张岩峰 – 键盘

This self-titled 12” vinyl split between Swedish experimental instrumentalists pg.lost and domestic post-rock outfit Wang Wen (罔聞) is definitive proof that China’s musicians have become equal partners in the global creative community.

pg.lost tackles the A-side with a suite of two ten-minute songs—“Desperdicio Parts I & II”—that open with a decidedly doom-influenced Spaghetti Western flair before nestling into more comfortable post-rock ground: crashing rock movements that intoxicate the listener and ferry them through waters of aching, almost heartbreaking emotion stamped with forceful, triumphant and occasionally-violent melodies that recall sweeping windswept vistas.

Wang Wen excels at running emotional relays from melancholy grief to guarded hope—and back again—multiple times within single songs, feats of sonic prowess that make their contributions an ideal soundtrack for these troubled times.

On the B-side, the Chinese quintet counters pg.lost’s fiery, outward-looking tracks with three subdued and inward-looking sketches. The fragile opener, “13th”, is dominated by mellow, intricate guitar interplay overlaid upon warm and reassuring throbbing organ tones before disintegrating into a pedal-induced feedback fuzz.

“Homeland Accent,” a subdued island in which a glockenspiel, Hammond organ, earnest percussion work, soaring lead guitars and a violin all take turns occupying center stage, offers a tranquil respite before the barnstorming closer “Mouse Song,” the aural equivalent to a flash thunderstorm.

The seven-minute jam neatly pivots from languid mandolin and violin-laced guitar wizardry backed by sunny, bubbling synths to a brief midpoint moment of stark lucidity before the band throws themselves into cathartic, film credits territory marred by agitated and fitful guitar squalls.

And then the sky brightens, the string section chirps and all is well again—置若罔聞: turning a deaf ear to the wolf at the door.

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