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艺人
The Raveonettes
语种
英语
厂牌
Beat Dies Records
发行时间
2014年07月22日
专辑类别
录音室专辑

专辑介绍

继表现不俗的《Observator》之后,丹麦噪音流行乐队The Raveonettes发行了阔别两年的第七张录音室专辑《Pe'ahi》,专辑名源自于一个冲浪胜地,位于美国夏威夷州茂宜岛北海岸的Pe'ahi,这片偏僻的海域以拖曳冲浪而闻名,有“鬼门关”之称。

经历乐队成员Sune Rose Wagner的父亲在去年的突然离世后,The Raveonettes一度沉浸于南加利福尼亚的冲浪文化中。《Pe'ahi》创作于2014年的前几个月,《Endless Sleeper》讲述了Sune Rose Wagner2008年在夏威夷的一次惊险的濒临溺水的经历;《Kill!》形容了和父亲难以相处的关系;《Summer Ends》是有关父亲的死亡……

《Pe'ahi》在Sune Rose Wagner位于洛杉矶的公寓录制完成,并由Justin Meldal-Johnsen(曾制作了M83的《Hurry Up, We're Dreaming》,并与Beck、Nine Inch Nails、Air等艺人合作)担任制作。(by xiami)

by Tim Sendra

The Raveonettes' late career run of excellent work continues on 2014's Pe'ahi, an album that blends the heady rush of their early records with the sophisticated arrangements and darker moods of their 2010s stuff. Building on the more intricate and thoughtful approach of 2012's Observator, Sune Rose Wagner and Sharin Foo craft a sound that's full of the duo's expected overdriven-to-the-point-of-breaking guitars, but also has lots of breathtaking dynamics and more focus on beats and rhythms than usual. Whether it's the canned bossa nova beats of "Endless Sleeper," the pounding hip-hop swagger of "Sisters" and "KiIl!," or the Zeppelin-esque thunder of "Summer," the drums anchor and propel the songs in a powerful fashion. Wagner's songwriting leans toward the dark, as usual, but this time there seems to be some anger running just below the surface, or sometime right on it, which is reflected in the at-times brutal attack of the guitars. His production, done with the help of American hotshot Justin Meldal-Johnsen, is sleek and honed to needle-sharp perfection. The arrangements are rarely straightforward, with barely anything playing out in an expected way. Instead there are constant surprises popping up in the mix, like churchy backup singers and a filthy bassline on "Killer in the Streets" or a long section of sub-aquatic fuzz and feedback that splits the very Medicine-y "Z-Boys" in two. Throughout, the duo show they can still make tons of noise and pout as dangerously as ever, but as on their last two albums, the growth in their songwriting and emotional depth continues to grow deeper and richer. After having been around for so long, and after having made so many good records, it might be easy to take The Raveonettes for granted, or to cast them aside in favor of the latest flavor of the month. Like the rest of their 2010s output, the strength and near-brilliance of Pe'ahi show clearly what a mistake it would be to do either of those things. Anyone looking for the best that noise pop has to offer in 2014 should start their search with The Raveonettes.


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