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共17首歌曲

在网易云音乐打开

艺人
Boards of Canada
语种
英语
厂牌
Warp
发行时间
2013年06月11日
专辑类别
录音室专辑

专辑介绍

20世纪90年代由英国独立厂牌Warp发起的Intelligent Dance Music(智能舞曲)运动催生了许多流派的代表性乐队,Boards of Canada就是其中一支,他们就像最新版、个性化时代的Kraftwerk——用合成器制造着后现代的古典音乐。

正如当年如Burzum之类的黑金属,这些IDM乐队用类似连复段长度的小旋律的重复去营造冥想音乐的氛围,在音符的叙述和电子节拍有着同样重要的地位的情况下,不同音色的音轨会像花瓣般层层绽放,这种音乐成功的将古老的艺术音乐精神在新时代以符合个人渴望脱离紧张、压抑的现代社会的生命体延续了下来。

Boards of Canada即将在今年6月10日发行令人久等的新专辑Tomorrow’s Harvest,他们那甜美、梦幻的同时充满了抽象感的音乐在自我情绪膨胀的摇滚音乐圈中完全是属于超凡脱俗的范畴的。不同于后摇的emo变异小忧伤本质,Boards of Canada这种智能舞曲是真正的表达了现代人在免除了大自然的野性,利用科技换来了“舒服”的生活方式后因为失去了实在的生活意义而发起的无论是对童年还是对一些纯真时光的回忆和幻想。

近日乐队的一支未发表过的音乐影像出现在了东京涉谷区街头的大屏幕上,引来了许多行人驻脚观看,无论这一举动是出于宣传目的还是为了故意制造新闻以引起人们对乐队的注意,我认为这一举动都是非常有意义的。因为现代人(以东京人为例)一天到晚忙碌在的社会生活中,做着机械性、得不到心灵满足的工作,听着安慰自我心理缺陷的流行音乐,根本就没有时间真正的去体验这个世界,而Boards of Canada的音乐在这种代表了现代文明最泡沫化的地方的出现正正是对世人最直接的刺激与呼唤。

不知道当晚过后有多少人会因为接受了这种超然体验的洗礼而改变自己的生活方式…… (by AGGRESSIVECONSERVATIVE)

Following one of the most effective teaser campaigns since the car wash scene in Cool Hand Luke, Scots electronica titans Boards of Canada are back from their seven year lay-off.

The atmosphere they hinted at with their May test transmission video was accurate: after the textured guitars and beach vibes of 2005’s The Campfire Headphase, Tomorrow’s Harvest is cold and sinister, its themes harking back to the ‘New Clear Dawn’ images the band posted before vanishing.

These 17 vignettes glow with Cold War paranoia, picking up where Threads, the most scarring piece of TV ever made, left off. It might also be the duo’s most accomplished album yet – and that’s coming from someone unable to remove the Hi Scores LP from his stereo. Tomorrow’s Harvest very quickly shows everyone who’s tried to ape Boards of Canada what they’ve got wrong: dreamy IDM with a sinister accent; chunks of nostalgia built from energy commercial keyboards. Opener ‘Gemini’ subverts the band’s intro/jingle formula with a trumpet fanfare and icy strings, somewhere between the Blade Runner titles and an arctic Attenborough documentary. Those familiar Yamaha CS-70 synths build to a whirling rhythm, leaving the likes of ‘Telepath’ to fill the jingle slot, playing analogue pads over which a voice rasps ”Testing/1/2/3/4/5/6/7/8/9/10/Up/Down”. The brothers are a lot more confident in their world, with a sci-fi melody on ‘Nothing is Real’ given gut-punching beats, and ‘Transmisiones Ferox’ using a wall of bass to remind listeners of the power of ambient music.

But the meat on Tomorrow’s Harvest is the Sandisons augmenting their sound with more complex drum programming and richer keyboards. Seven years rehearsing has seen them come up with tunes so layered a geologist could examine them, with ‘White Cyclosa’ playing ticking pads over ominous low-end, and featuring melancholy organs that reference John Carpenter’s soundtrack heyday. ‘Palace Posy’ is almost jokey, its stabbing keyboard beats like a synth collector having his head slammed in a fridge, while ‘Reach for the Dead’s arpeggiated notes and lisping beat recall Music Has The Right To Children – if it had been swathed in static electricity. Even ‘Semena Mertvykh’, the drone-like trailer for the album, warns of coming darkness and a desolate Videodrome-like future. Whatever darkness the Sandisons are predicting, we’ll be lucky if we look like East Berlin when it hits.

Eventually Tomorrow’s Harvest reaches a resolution, having managed to successfully touch every part of Boards of Canada’s back-catalogue. Like My Bloody Valentine, BoC give believers what they want and then carefully expand on it, taking us to the didgeridoo hum and high C of ‘Uritual’, and the rousing bass/pecked stringed instruments of ‘New Seeds’, possibly a message in Morse. Like a few moments on Tomorrow’s Harvest it’ll take many more listens to decode, but the bulk of the album is immediately dark and succulent, conjuring a beautiful air of malice. What began with a Record Store Day treasure trail ends with something that fulfils our bravest expectations. The next seven series of Top Gear have got soundtracks to glide Porsches across ice to.


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