继Hot Chip之后最受瞩目的年度电子摇滚新团
电玩Wii Fit、PS3广告曲〈On Board〉蹦跳收录!
NME、Clashy、Fact、Vice众家传媒一致 预测爆红新声代!
摇滚与电子音乐的融合在名团The Chemical Brothers、The Prodigy、Underworld、Fatboy Slim的音乐故事裡已经实实在在的得到佐証。电音的律动外挂摇滚的冲劲,所孕育而来的是隐喻于内、表象于外的音乐动能。时至今日,经由The Rapture、Bloc Party、Animal Collective这些成功乐队的大鸣大放,又得以听到以摇滚为母体、融合电音技术的音乐型式与乐团之声。然而Friendly Fires带来的却是不折不扣的Danceable-Rock Band Sound。
来自英伦历史悠久的古城St. Albans的这组新锐乐队Friendly Fires,稍早在任天堂Wii Fit广告中的配乐单曲〈On Board〉,并陆续为一干乐团暖场演出后,已悄然掳获乐迷与圈中人士等各方视线相当瞩目。【Vice】杂志誉为「明年最该注意的乐队!」、Fact杂 志:「其他音乐都没这麽棒!」、Clashy杂志:「当代最佳放克+庞克音乐」、NME预测「前景一片光明、令人兴奋激动的乐队」。简单的3人乐队编制: Ed Macfarlane(Guitar/Vocal)、Ed Gibson(Rhythm Guitar)、Jack Savidge(Drum)却谱出蹦蹦跳跳的 Pop / Disco House / Shoegaze三条交错而来的音乐路线。光听鼓的节奏就足够让一票幼稚园小孩手舞足蹈,吉他在鼓击与嗓音间穿梭,加上主唱奔放中些微忧鬱的歌唱,如斯的 音乐情绪不得不让人想起Electropop+Dance Punk乐队Hot Chip与老团Daft Punk共同交织而来的热气与热力。
众所注目的乐队首张同名大碟《Friendly Fires》如往常一样在主唱Macfarlane爸妈家的车库录製,乐队照着自己的时间表随时进行专辑录製,採如同〈On Board〉MV般的Lo-Fi低传真与DIY。主唱表示「首张大碟大概只收录所有作品的5%。我们一直不间断的在创作,并且知道这是完全代表我们自身的 音乐;而不会有跟别人合作却不顺的情况发生。」〈In The Hospital〉流畅的Pop-Rock包揉道地Funk韵味,精神为之一振。Synth式的鼓搭配缱捲guitar distortion的〈Strobe〉散发澹澹俊朗情怀。〈Lovesick〉精采的Funk-Punk与迷味十足的vocal力道,完全展示「友军火 力」。从乐队早期Hardcore / Post-Rock / Metal / Noise的风格转进散发甜美果实氛香的招牌Danceable-Rock。这组年轻乐队已着着实实地树立他们独有的乐团跳舞音乐风格-驱动人心的节奏/ 易于舞动的曲式/奔放的嗓音,若你有幸听到,不可能还像树一样站着不动!!
by Heather Phares
On their self-titled debut, Friendly Fires serve up a very slick -- and very appealing -- mix of synth pop and dance-rock with unexpected nods to shoegaze that suggest the hard-edged, nu-rave sound might blur into something more interesting. The band crafts a big, hooky sound that loves melody, rhythms, and choruses equally, especially on "Jump in the Pool," which is just as fun and refreshing as its title suggests (the tropical-sounding drum breaks don't hurt), and "In the Hospital," a sleek track that sounds like the D.F.A. collaborating with Franz Ferdinand on an especially poppy day. For the rest of Friendly Fires, the band switches between these two approaches, and while they do a pretty good job of bringing the punk-funk, particularly on "Lovesick," this is very familiar territory that the band doesn't embellish much -- and "On Board" and "Photobooth" narrowly avoid coming off as parodies of that sound. Friendly Fires are more convincing, and more intriguing, when they give into their lush pop side. "Strobe"'s aptly shimmering guitars, flickering keyboards, and almost ridiculously pretty melody nod to M83 and New Order, and the band saves the best for last with "Ex Lover," which pits steep, tone-bending guitars and sleepy vocals against brisk dance beats, suggesting what Chapterhouse might have sounded like if they were actually influenced by house. As it stands, Friendly Fires seem to be influenced by dream pop and whatever trend is big in dance music -- "Skeleton Boy"'s bleepy keyboards borrow from the 8-bit craze -- but when the results are as fun as this album is at its best, it's hard to slam them too much for being derivative; better just to enjoy Friendly Fires as fleeting fun.