◎ BBC「2011年度瞩目新星」榜单入围歌手,首张一鸣惊人同名处女大碟
◎ Brian Eno、Nick Cave、Johnny Flynn、Interpol与Arctic Monkeys争相提携推荐
◎ NOW Magazine满分推崇;NME、BBC Music 9/10等级讚誉;The Guardian、PopMatters、AMG、Uncut、Mojo一致四星等级护航
◎ Brian Eno、Dave Okumu献声唱合,PJ Harvey长期合作伙伴Rob Ellis共同监製
NME:「2011年首张出线的最佳专辑!」
The Fly:「引人注目、稀有且让人神魂颠倒的聆听经验」
The Evening Standard:「让人无法否认的天份,今年将由她主宰!」
Uncut:「今年发行的专辑,要有一番绝佳表现才有可能与本张专辑相提并论!」
「安娜卡维Anna Calvi」是属于那种一站上舞台,便会发光发热的天生型艺人,有了Mally Harpaz(吉他、小风琴、打击乐器)与Daniel Maiden-Wood(鼓手)的帮衬,更构成一个坚不可摧的音乐铁三角。前Coral吉他手Bill Rider-Jones在一次偶然机会中,观赏了Anna Calvi的现场演出,深受震撼的他,要求音乐厂牌Domino的创办人Laurence Bell务必要立刻签下她。此外音乐大师Brian Eno,在听过她的音乐后,也成为提携Anna Calvi不遗馀力的重要贵人,他在一次专访中形容Anna Calvi是:「继Patti Smith之后,最了不起的艺人!」。事实上,早在她发表个人专辑前,就曾获邀为Johnny Flynn专辑《Been Listening》跨刀演奏吉他。Nick Cave更亲自指名邀她,一同参与Grinderman的欧洲巡迴演行程,她同时也是Interpol与Arctic Monkeys演唱会上的特别佳宾。如此超人气的表现,让Anna Calvi一举入围BBC针对2011年选出的「年度瞩目新星榜单 Sound of 2011」,成为今年另类摇滚乐坛中,最让大家期待的一名新人。
Anna Calvi表示葛斯范桑Gus Van Sant与王家卫等知名导演的电影作品,皆对她的音乐创作带来影响。在英国伦敦出生的她,从小跟著义大利籍父亲接触传奇歌剧女伶Maria Callas、Jimi Hendrix、Captain Beefheart、The Rolling Stones等不同类型的音乐。由于小时候曾学过小提琴,让她除了大量聆听歌剧、西非音乐、蓝调及西班牙flamenco等乐风之外,对古典音乐也十分熟悉。这也正是为什麽她的作品可以包纳多种迥异元素,同时给人既黑暗又浪漫,既狂躁又柔媚的衝突感受。
本张同名处女大碟《Anna Calvi》虽然只收录了10首歌曲,但是却花费了Anna Calvi整整三年的时间创作,最后与PJ Harvey长期合作伙伴Rob Ellis共同联手监製,除此之外Brian Eno、Dave Okumu更大方地为她抬轿,在本张专辑中献声唱合。《Anna Calvi》除了已陆续获得NME、BBC Music、The Guardian、PopMatters、AMG、Uncut等专业媒体撰文推荐,更已先后在英国、法国、奥地利与瑞士等地排行榜上,缔造第40、17、33与第40名的销售佳绩,并于法国、德国、葡萄牙、义大利与奥地利等国的iTunes另类专辑榜上荣登冠军。
by Jon O'Brien
Citing the likes of Debussy, Captain Beefheart, and Nina Simone as her main influences, it's clear from the outset that Anna Calvi isn't your average, run-of-the-mill singer/songwriter. She may have been tipped for success by everyone from the broadsheet music press to Brian Eno, but her blend of sultry blues-rock and dark, mysterious flamenco is a million miles away from the chart-friendly output of her fellow Sound of 2011 nominees. Her self-titled debut, therefore, is unlikely to reap the same commercial rewards as the likes of Jessie J and Clare Maguire, its uncompromising, gothic, David Lynch-esque nature certainly won't spawn any bite-size TV ad soundtracks or airplay favorites your mom can sing along to. But in a music scene dominated by female solo artists, Calvi's romantic but often sinister ten songs certainly helps her to stand out from the crowd. Opening track &Rider to the Sea,& sets the scene immediately, a brooding instrumental whose atmospheric twanging guitars would provide the perfect score should Quentin Tarantino's much rumored Kill Bill 3 ever come to fruition. Calvi's haunting and intense vocals first come to the forefront on &No More Words,& a gloriously menacing number which evokes the shimmering distorted harmonies of My Bloody Valentine. But it's on the grandiose &Desire& when Calvi really unleashes the impassioned post-punk tones that have drawn favorable comparisons with the likes of Patti Smith and PJ Harvey (whose regular collaborator, Rob Ellis, is also here on production duties). Backed by an impressively tight backing band, the likes of &Suzanne and I,& a future James Bond theme in the making, &I'll Be Your Man,& which would sit comfortably on Florence and the Machine's Lungs, and &Blackout,& which evokes Phil Spector's expansive Wall of Sound, prove Calvi isn't averse to delivering slightly more accessible material. But it's the more unconventional &The Devil,& which undoubtedly provides the album's highlight, a mesmerizing, stripped-down fusion of classical, rock, and flamenco that showcases her virtuoso guitar skills, and her effortless shifts from whispering restraint to primitive aggression before ending in layers of drenched feedback. By the time the epic strings have reverberated on closing track &Love Won't Be Leaving,& you're left in no doubt as to why the industry appears to be so excited about her. Capturing the intensity and raw emotion of her captivating live shows, Anna Calvi is an ambitious and always intriguing debut which heralds the arrival of a unique and inventive addition to the plethora of U.K. female singer/songwriters.