Danielle Dax

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艺人介绍

即使在人才辈出的80年代，也很难找出像Danielle Dax这样的女艺人——出众的外貌，制作并演奏自己的专辑，兼收并蓄的音乐风格……是不是觉得有点像Kate Bush？但是不要忘了，Kate毕竟是pop queen. 虽然80年代的人类品味普遍比较怪异（←褒义），但Danielle作为80s indie/goth界的明星，无论在形象还是音乐上的怪异程度更进Kate一步，虽然她也取得过商业上的成功（一张单曲，下文会有所提及）。不过总得来说她还是属于比较地下的，到了现在听得人更是少，Last.fm上也就7000个人吧。

Danielle Dax出生于艾塞克斯，英国东南部的一个郡。在儿时她便展露出了对视觉艺术的极高兴趣及天赋。在青少年时期，她积极地投身于绘画和表演艺术。后来短暂地从事过模特行业，还在76年时候拿了个选美比赛的冠军。Danielle的视觉艺术及画作在她的唱片封面（包括她给Robert Fripp的solo专辑Let the Power Fall绘制的封面，个人形象及mv的制作中都得到体现。事实上，Danielle现在是一名优秀的室内设计师和园艺设计师。

Danielle的音乐事业始于参加实验乐队Lemon Kittens. 当时Karl Blake急于找人为Lemon Kittens设计封面，他在报纸上读到Danielle为资助一些当地的新艺术家而做得街头绘画的故事，便联系了Danielle，结果发现她不光会画画，更会吹萨克斯和长笛；于是二话不说便把她招入乐队。随后，Danielle成了Lemon Kittens的键盘手，萨克斯手和长笛手，也设计绘画了所有Lemon Kittens的专辑封面。在Lemon Kittens时期，Danielle也在League Of Gentlemen（Robert Fripp的乐队）81年的同名专辑中演唱了Minor Man一曲。

82年，Danielle离开了Lemon Kittens,开始了solo生涯，并于83年发行了首张solo专辑Pop Eyes，她一手包办了整张专辑的制作：从写歌，演奏，混音到专辑封面及内页设计……在Pop Eyes的第一轮销售结束后，原本的封面（version 1）被替换为Holly Warburton的设计（version 2），原因是唱片店指责原本的设计过于诡异惊悚。Holly随后也为Danielle设计了Jesus Egg That Wept, Inky Bloaters及合集Dark Adapted Eye的封面。

说说Pop Eyes的音乐本身，这张专辑的演奏用了近10种乐器，其中包括班卓琴（Danielle有收集各种乐器的爱好），高低音两种萨克斯，长笛和小号。多种乐器的使用使整张专辑听来兼具原始部落感，东方异域风情，又有摇滚，电子，爵士，民谣的元素（这就是传说中的实验吧OTL......)。Danielle的嗓音也极具特色，真假音混用。

推荐曲目：

1.Bed Caves: 专辑的第一首歌，曾经看见一条很有趣的评论说这是首宝莱坞post-punk. 确实，这首歌具有浓郁的东方风情，另外，宝莱坞盛产歌舞，这首又确实有点dance. 所以我觉得这个评价还是很精辟的。

2.Here Come the Harvest Buns: 应该是整张专辑中最catchy的一首了！合成器的声音比较突出。

3.Tower Of Lies: 真的是一首很奇妙的歌！首先Danielle的嗓音变换在这首歌里有很好的体现，其次这首歌又drone又folk的，总之很奥妙……

84年，Danielle发行了自己的第二张个人专辑Jesus Egg That Wept.这是张mini-album，整张专辑只有25.7分钟的长度，还有首和Pop Eyes里一模一样的Here Come the Harvest Buns.还是延续了上一张的融合风格，异域风情，怪异，有几首还有些布鲁斯。再一次证明了Danielle能将各种各样不同的东西融合并且使之变得与众不同，同时又带有显著的个人印记。

推荐曲目：

Pariah: 事实上，这是我最喜欢的一首Danielle的歌。我觉得这首歌很goth,mv也goth……mv中使用的特效又有种迷幻的药物感。（Danielle的许多mv都用这种晃来晃去色彩变幻的特效，像Cathouse,Big Hollow Man）这首歌好像是讲Halloween的吧，很好听。Walking sick sick they walking the town.

总得来说，前两张是很实验的。Danielle在一次接受日本媒体的采访时曾经说过：想要得到一群cult followers是比较容易，她现在想做得是为更多人所知。于是便有了后面两张相对（←高亮）流行的作品Inky Bloaters和Blast The Human Flower.

比起前两张来，这张Inky Bloaters确实比较入耳。如果没听过Danielle又对她感兴趣的人可以从这张开始听。这是Danielle在自己的厂牌Awesome Records发行的最后一张录音室。同时，这时她已经有个伴奏乐队了，虽然她还是自己演奏了许多乐器，如西塔琴克林巴琴等。这张总的基调是比较欢快的，不过话说我确实看见有人说认为她的前两张好，后面的堕落成普通的dance-pop了...OTL

推荐曲目：

1.Big Hollow Man: 这个算fans favourites之一了，很欢快很好听的一首歌。有点funk+psychedelic的感觉，mv也非常有趣。

2.Fizzing Human Bomb: 我很喜欢这首，中间有段鼓也挺好听。这首从头到尾她都是用假声唱得吧……

88年发行的单曲Cat-House也是fans favourites之一。也是很欢乐的歌，其实第一句的歌词是：Baby, baby you are my heart desire. 但她唱着像BBBB...

last The Human Flower于90年发行，这是Danielle唯一一张在大厂牌（华纳）发得唱片。单曲Tomorrow Never Knows使她获得了第一次的商业成功，这是首Beatles的翻唱歌，也是Danielle唱过的唯一一首不是她自己写得歌。可能因为签了大厂牌，Danielle的形象也有了些改变，怎么说呢，比较“正常”。

Danielle首次接触电影行业是参演1988年Neil Jordan的电影The Company of Wolves，演一个狼女。其实就最后几分钟出来了一下，而且没台词的。

此外她还为Nigel Wingrove的实验短片Axel贡献了原声。

最后Danielle还是没能成为大明星，而依然是为少数人所知的goth偶像。她在96年后就基本退出乐坛从事设计行业了。不过她确实是我知道的最特别也是最漂亮的女艺人之一。

A performer whose enigmatic and experimental work reflected the strong influence of Biblical mysticism and Middle Eastern musical textures, Danielle Dax was born in Southend, England. She made her musical debut in 1979 as the keyboardist in the seven-piece Amy Turtle and the Crossroads; the group disbanded after only one performance, but it brought Dax — who took to the stage clad in nothing more than a knit cap and lab coat — to the attention of Karl Blake, who asked her to design the cover for an EP by his Surrey University-based band the Lemon Kittens. Within a week, Dax was a full member of the group; neither she nor Blake actually played music, but they managed to release two highly experimental LPs, 1980s We Buy a Hammer for Daddy and 1982s The Big Dentist, while also establishing a reputation for their notorious live sets, in which they frequently performed sans clothes.

Upon the Lemon Kittenss 1982 split, Blake formed the Shock-Headed Peters, while Dax mounted a solo career. She debuted a year later with Pop-Eyes, a true solo effort for which she wrote and performed every song alone, even handling mixing and production duties and distributing the record through her own Awesome label. While her heavy makeup and colossal hair aligned her with the thriving Batcave scene, she steadfastly avoided easy pigeonholing, even making the leap into film with appearances in Neil Jordans adult fable The Company of Wolves; she also appeared in Chimera, a film by Holly Woodlawn, the photographer whose work adorned many of Daxs record covers. After reuniting with Karl Blake, Dax returned in 1984 with the Jesus Egg That Wept EP, which also featured the first appearance of guitarist/keyboardist David Knight, who subsequently became a frequent collaborator.

After recruiting a live band, Dax emerged as a significant concert draw; a series of singles including 1985s Yummer Yummer Man, 1986s Where the Flies Are, 1988s Cat-House and 1989s White Knuckle Ride — each slightly more commercial than the last — also established her as a force on the independent charts, and after the success of 1987s Inky Bloaters LP, she signed to Sire. After 1988s Dark Adapted Eye, a compilation of previous work, she resurfaced in 1990 with Blast the Human Flower, an attempt at mainstream success heralded by a misguided cover of the Beatles Tomorrow Never Knows. When the record bombed, Dax and Sire went their separate ways, and she spent the next several years in seclusion, returning only in 1995 with a new label, Biter of Thorpe, and a new EP, Timber Tongue.

Danielle Dax

艺人介绍

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