Jimey’s Life && Jimey’s World » 乐

Tintinnabuli(钟鸣作曲法)

jimey — Sat, 29 May 2010 04:39:20 +0000

帕特从中古元素以及三和弦中汲取到更新力量，他自己称之为“Tintinnabuli”（钟鸣作曲法），即回到最简单基本的三音和弦，调性和声的基石，但抽去了调性体系的功能，使之失去方向感，类似中古音乐那样的平行级进。作曲家这样描绘“Tintinnabuli”：“我使用尽可能少的元素，只有一到两个声部，将音乐建构在最原始质朴的素材上——三和弦，一种特殊的调性音乐。”在下面这个谱例中可以看出，是“钟鸣作曲法”的几种基本变化模式，主干旋律音构成a小调三和弦：
《致阿丽娜》是第一部采用该作曲法的作品，作曲家说：“这是采用新调色板的第一首作品，我在其中发现了一个三和弦系列，应用了一个不起眼而简单的指导原则。”正如上面两个谱例所示，这个“不起眼而简单”的原则就是和弦不论如何变化倒置，都牢牢“固着”在三和弦上。此后钟鸣作曲家成为作曲家每部作品的起点，往往有一个特定的三音和弦位于作品中心，就像一个信念或是钟声，回荡在整个作品中。帕特不但视该作曲法为自己的音乐表达，而且是一种解脱之道，一种拯救性的力量：“我在求索彷徨中进入这个领域，为的是探求我的生命、音乐和创作的答案。在我生命低谷的黑暗中，我似乎感觉一切都是外在而毫无意义，纷繁复杂的面貌令我困惑，我一定要寻求到一个统一，那个最重要的东西，我如何寻到？那个完美之物的轨迹变幻多样，令无关紧要的琐碎随之散去。三和弦的三音就像钟鸣，它很接近我心中的那个完美之物了”。音乐的技法和生命的体验、一元信仰统合在一起。从这点而言，作曲家之后的所有作品皆带有宗教观念。事实表明，钟鸣作曲法虽然朴素，但拓展空间很大，帕特以此写出了个性迥异的丰富作品。

转自:http://www.douban.com/group/topic/1290882/

^^^^^^^^^^^^^^^自述^^^^^^^^^^^^^^

目前只觉得

Alina / 阿沃·帕特《阿丽娜》《镜中镜》

这张专辑不错,纯钢琴+提琴 Ólafur Arnalds有点跟他很像很不错

其他的一些专辑合唱的氛围太浓厚,影响琴的欣赏

24 最好的剧集，没有之一

jimey — Tue, 25 May 2010 03:50:48 +0000

从2001年11月6日

到今天

八年半的时间

而jack bauer却只是走过了他生命中最长的8天

多少人死在这8天里,又多少人被救活

一个时代的终结,没有任何一部剧能够像24一样吸引我

———————剧透分界线—————————-

今天看完最后2集,23集只是显露出政客的嘴脸,那种尴尬,那种苦学,那种无奈,那种歇斯底里

24集,从开头就注定是感人的一集,我是一边看一边两眼湿,最后看着jack bauer对着chloe说那句thank you 看着屏幕上的读秒03 02 01 变成00

太辛酸的结局了.一个时代终结了

太久没这么被感动过了.付出快10年的时间来追这部剧,今儿就剧终了.

怀念当年每周求一个小伙周末回家刻盘带回来给我看,怀念推荐给另外一个小伙,在那小伙花了3天看完2季之后一双红眼兴奋的对我喊,太屌了.一切终将成为回忆

感谢Fox 感谢Kiefer Sutherland

Ólafur Arnalds – Hægt, kemur ljósið (Official Video Trailer)

jimey — Sat, 17 Apr 2010 14:40:25 +0000

0x5d1719&color2=0xcd311b&autoplay=1&loop=1" allowfullscreen="true">

传统的颠覆

jimey — Sun, 28 Mar 2010 16:43:36 +0000

昨儿去听教授的演奏会去了.

我们教授玩的东西真是高级 – - 韩国大笒

看着有点类似中国长笛的玩意,印象中教授玩这个至少有3年了,因为3年前我们实验室全部人被水利系那边的朴教授带去滑雪的时候教授就在那酒店里给我们演奏了一番,当初觉得好闷- – 实在不觉得有什么出奇的.

结果昨儿去看现场演奏,真的是把我给震撼到了..

差不多4年没来到这边看足球场了,完全大吃一惊..4年前我去的时候还是土地..现在已经变塑料草地了..而且依然是没什么人在用的..场地…

一去就见到我们教授了,韩国传统的衣服穿在身上很有一股味道..那帽子我超想借过来戴下.

很有书生味道.左手边就是我们实验室新来的硕士了,再接着是我们实验室的누나呵呵带着她的小女儿

准备开始了.大家端坐在席上

穿的衣服都很华丽..我就很奇怪为啥旁边那个打鼓的小伙不用戴帽子?这个帽子估计有什么级别以上的人才可以戴吧?

近景.应该可以看到那个韩国大笒大概样子了.

一个小伙的个人表扬,穿的衣服很像皇帝一样的,靴子非常的有特色,很漂亮..很漂亮

后来第二场

有韩国的玄琴左手控制琴弦,右手拿的木棍一样的东西在奏

然后这边这位穿红色衣服的大叔弹的应该是韩国的伽倻琴

很经典,左手按琴弦,右手拿着跟二胡拉那种玩意一样在拉..音效特别的好听

这位吉他大叔来唱california 吉他+笛子+伽倻琴+类似二胡一样的不知道是啥

接下来就开始现代与传统了,非常的震撼,我就是在这被震撼到了,感觉其实传统乐器与现代乐器结合的这么好,音乐也很赞.

紧接着就是 부산미인的节目了..上来7位美人… hmm

最终最叫人震撼的出来了..

那个鼓真的很不错,最后那个小伙鼓打的真的很漂亮很好听..

想看打鼓的视频就看

这2个就可以了.真的很棒..那个鼓打出来很rock..

觉得
能看imax还是看imax吧
效果完全不行啊。
也不知道是不是3D眼镜的问题
反正IMAX的3D眼镜很大，半个脸都快被遮了。。
这个digital 3D的烂眼镜，跟一般眼镜一样的，害我戴近视镜再加这个，2个眼镜看起来非常之……
然后就是这个digital的效果了，画面一直出波浪纹，就跟电视机不清楚，信号受到干扰一样的。。
当然屏幕也小很多了。。。唉
然后有一段，那小伙被那个野兽追，看的我头晕……屏幕太晃了，还是之前IMAX看的舒服。。
反正昨晚看完，我眼睛超级不舒服。

釜山没imax电影院，之前在西面开过，又关门了

周三去汉城那个CloudCamp开教育会，本来想连夜晚上赶回釜山

后来想想周三晚上跟朋友见面不一定能吃饭到几点，于是先决定买了17号回来的KTX火车票再说

因为买了票，也可以到时候再去换票的，基本上每趟车都不会坐满，随便换时间都可以，也不要手续费

然后刚刚不知道咋的想到Avatar这个牛x的电影了

这部片在韩国是12.17首映，之前是打算17号回釜山电影院去看的，后来想想既然17号就在汉城了，我就还在汉城看好了，于是定了IMAX DMR 3D版本滴

从来没看过imax,这回不仅仅要看到imax了而且还可以看3D的了

这部Avatar是本年度强推的一部电影，该导演自从拍了泰坦尼克号就开始鼓捣这部电影，这都多少年了。到时候特技效果肯定不会太差的

우리는 속옷도 생겼고 여자도 늘었다네 – off

jimey — Tue, 08 Dec 2009 04:20:15 +0000

是个live的录音

很不错的band

推荐来给大家听

+ BEST IN INDIE / POST-ROCK / 2008

jimey — Sun, 08 Nov 2009 07:35:15 +0000

2.) Peter Broderick – "Home" & "Float"
Brilliant.
Peter Broderick deserves to have two records atop my list. It’s virtually unheard of these days for artists and bands to release more than one record a year, let alone two releases that match the quality and depth of Broderick’s Home and Float. Each release is quite different from the other, with Float being one of the most emotive and beautiful modern classical albums I have heard in recent years. Float, primarily comprised of Broderick’s poignant delivery on the piano and complimented with layers of subtle and despondent string sections effectively conveys a myriad of airy and melancholic sensibilities that are entirely beautiful and mellow. Perhaps what I enjoy most about Float is that it captures a forlorn and beautiful elegance that is mysteriously entrancing but never presumptuous or pretentious in its delivery.
Personally, I enjoy Broderick’s Home more than anything I have ever heard from Iron & Wine, Bon Iver, Jose Gonzales or any other similar artists for that matter. While the utterly captivating Float would have been enough to consider 2008 a great year for Broderick, he followed it by releasing Home – a mesmerizing, serene and creative folk experience on par with the greatest that Nick Drake and Jeff Buckley had to offer and like no other release I heard in 2008. With Float and Home, Broderick, at the young age of twenty-one is poised to become one of the most important songwriters of his generation.
Peter Broderick Info
MySpace: www.myspace.com/peterbroderick

4.) Subheim – “Approach”
Great debut!
Subheim is Kostas K., an electronic music composer and a visual artist, originating from Greece and entering the international music scene. Approach is one of the most captivating and significant ambient/IDM/downtempo releases I have heard in quite sometime. Kostas was able to create a truly remarkable soundscape comprised of delicate vocals, unanticipated string sections, and a plethora of multifaceted rhythm compositions using both the tribal and natural sounds of real drums and the electronic glitches of reverb and bass. The ambiance throughout is genuinely personal, intimate, and if listened to closely transports the listener to an entirely different world. Approach is an evocative, memorable and moody release and is relaxing, rewarding, and impressive for a debut album.
Subheim Info:
Homepage: http://www.subheim.com
MySpace: www.myspace.com/subheimmusic

5.) God Is an Astronaut – "God Is An Astronaut"
God Is An Astronaut is the single best post-rock band in existence. Yes, I said it. In my mind, with their self-titled fourth release they have undoubtedly proved this yet again. Every single mesmerizing and crescendo-soaring track is of the utmost quality and is head and shoulders above most of their post-rock peers. What is arguably most astounding about this brilliant Irish band is that they are able to maintain such a level of excellence and continue to release relevant, inventive, and absolutely captivating post-rock with each successive album. This is undoubtedly a superb record that should be in your collection now.
God Is An Astronaut Info:
MySpace: www.myspace.com/godisanastronaut

13.) Digitonal – "Save Your Light For Darker Days"
I stumbled upon this record by accident, and I am exceedingly thankful that I did. Digitonal have created a stunningly beautiful record that I kept returning to over and over again. I cannot wait until their next release.
London electronica outfit Digitonal, comprised of London-based producer and instrumentalist Andy Dobson, Egyptian session violinist Samy Bishai and new member, producer Josh Doherty, release their second full length record, ‘Save Your Light For the Darker Days’, on Just Music Records.
Album opener ‘Ana Kata’ is like something from a movie soundtrack; it particularly reminds me, in parts at least, of Clint Mansell’s track ‘’Lux Aeterna’ from the ‘Requiem For A Dream’ original soundtrack – and that’s no bad thing, let me tell you! It doesn’t quite reach the dramatic heights of that particular piece of music (which is not a criticism – ambience is the watchword, here), but it’s pretty stirring, nonetheless, and a gripping introduction to the album as a whole.‘Save Your Light for Darker Days’ will appeal to fans of electronica (obviously) but also to those who enjoy the dramatic soundscapes of the likes of Sigur Ros and Mogwai. In fact, the only reason I can think that you wouldn’t like this album is if you have an inescapable need for vocals, because you won’t find none here, friend.
‘Silver Poetry’ is a particular favourite track for me; it builds and builds from tentative strings and percussion into a soaring, blissful high, before slowly breaking back down to silence, piece by piece. I like a track that takes you on a journey, and this one takes you somewhere really nice, like Chessington, or the zoo. I really, really like this album, I think because it reminds me of Tortoise’s 2001 masterpiece, ‘Standards’, which is one of my favourite records. The other tracks I would point to as the best are ‘Nothing Left to Say’, of which the above comparison is most accurate, and ‘A Lighter Touch’, which has a really great, celebratory feel about it.
Coming into the last third of the year, there’s nothing better to compliment the autumn period than a bit of ambient electro, and on that basis may I heartily recommend Digitonal’s ‘Save Your Light for Darker Days’ as the soundtrack to your September.
Review: www.pennyblackmusic.co.uk
Digitonal Info:
Homepage: www.digitonal.com
MySpace: www.myspace.com/digitonal

14.) Mar – “The Sound”
While I enjoyed Mar’s debut The Silence, I did not think that they would follow it with such a splendid and creative release. Mar is a super-group of immensely talented musicians, and I am certain that they have only scratched the surface of their potential. I love The Sound.
Recorded in a cabin outside of Eureka Springs, Arkansas, the new album by Mar is much more upbeat than their debut and features Bright Eyes’ violinist Anton Patzner and celleist Zoe Keating of Imogen Heap (and, earlier, Rasputina). In contrast, their debut was recorded in Iceland and featured Jimmy Lavalle of The Album Leaf and Black Heart Processional and also Samuli Kosminen of MUM.
I’ve always heard that Iceland has one of the highest rates of depression among residents and maybe the results of this new album by Mar proves that recording in the States instead has made it a lot less somber than their previous release. Either way, the string arrangements on this album are beautiful, no matter how it happened. In fact, the haunting fragility of these songs adds to their beauty and Mar is able to carry off the songs’ delicate power like pros, although the vocals don’t impress me as much as I would have hoped. Nonetheless, you will be hearing a lot about this band. Be prepared to fall under their spell.
Review: http://rockandrollreport.com
Mar Info:
Homepage: http://www.ringroadrecords.com/
MySpace: http://www.myspace.com/silenticeland

15.) Mono in VCF – “Mono In VCF”
Great debut!
Mono In VCF’s debut was one of the most rewarding listens of 2008. I have heard very few records that were able to capture such a cunning genre coalescing and retro-ambiance with such clever and ingenious tact as Mono In VCF have done. Highly original, the band melds Grace Slick and Nancy Sinatra with a distinctive New Wave elegance. This band has an extremely bright future.
On its debut self-titled album, Tacoma, Washington’s Mono In VCF creates a mammoth wall of sound that Tom Scanlon of the Seattle Times describes as “drifting leisurely in space somewhere between psychedelic Beatles and Massive Attack.” The sound is a haunting and orchestral brand of pop derived from various influences traced back to the decade of recording experimentation: The psychedelic 60s.
Songwriting duties belong to guitarist/organist Hunter Lea. Lea taps bassist Jordan Luckman for his own music and bass lines multiple times on the debut album. The two have been creating art together for the past five years and discovered singer Kim Miller in 2006. In reviews, Miller’s voice has been likened to Dusty Springfield, Madonna and Nancy Sinatra.
With roughly half the album tracking done at the VCF home studio in Tacoma, the band went into Jupiter Studios Seattle in May 2007 with British producer Martin Feveyear signed on to produce with Lea. In the past, Feveyear has worked with R.E.M., Queens of the Stone Age and Mark Lanegan among others. In the mixing stage, the two utilized discreet panning proven successful by George Martin and the Beatles but rarely used on modern albums. This gives the record an elaborate space and helps to make Mono In VCF one of the most defined debuts in recent history; an anomaly for the modern pop music landscape. Lea and Luckman recruited their idol, Canadian pop legend Terry Jacks (“Seasons in the Sun”, The Poppy Family) to contribute backing vocals on two songs on the debut record.
Influenced by film, composer scores, cinematography and Rod Serling almost as much as old Delfonics and Lee Hazlewood vinyls, the band creates a sound and mystique that pays homage while turning the classic sound and vision into something brand new and entirely refreshing. With roots deep in 60s psychedelia and soul, Mono In VCF sets forth with a debut album full of heavy and ethereal moods. These are pop scores made for the dark.
Review: http://cdbaby.com
Mono In VCF Info:
MySpace: www.myspace.com/monoinvcf
Honorable Mention:
- Alaska In Winter – "Holiday"
- Piano Magic – "Dark Horses" EP
- Russian Circles – "Station"
- Talkdemonic – "Eyes At Half Mast"
- Fleet Foxes – "Fleet Foxes"
- Blitzen Trapper – "Furr"
- Calexico – "Carried to Dust"
- Black Keys – "Attack and Release"
- Veil Veil Vanish – "Into A New Mausoleum" EP
- Tzolk’in – "Haab’"
- The Notwist – "The Devil, You + Me"
- The Helio Sequence – "Keep Your Eyes Ahead"
- Klimt 1918 – "Just In Case Well Never Meet Again"
- The Dresden Dolls – "No, Virginia"
- Mirror – "Mirror"
- Gentle Touch – "In Memory of Savannah"
- Maps – "The Wick And The Fire"
- Detektivbyrån – "Wermland"
- Steven Wilson – "Insurgentes"
- Blackfilm – "Blackfilm"
- Shearwater – "Rook"
- Viarosa – "Send For The Sea"

[VIA]

原帖有electronic类不过俺就自动过滤了

推荐个

Mono in VCF – “Mono In VCF” 在myspace听了下，很灵。真的很灵

Best Post-rock, Ambient and Indie-crossover acts of 2007

jimey — Sun, 08 Nov 2009 06:52:32 +0000

"If you like post-rock, ambient, indie-crossover music, these albums are recommended. The best acts of 2007 so far…
1. Arcade Fire / Neon Bible
Canada and Montreals honour, which made one of the best album 2000’s (The Funeral) goes on their way of making good music with Neon Bible.
http://www.arcadefire.com/
2. Kwoon / Tales and Dreams
“Dear lad, this is the story of my life” France post-rock band Kwoon’s debut album starts with these words and they make their ambient way of telling stories.
http://www.kwoon-music.com/
3. Crippled Black Phoenix / A Love Of Shared Disasters
Members of Electric Wizard and Mogwai, recorded the one of the most interesting projects of 2007 in Portishead member Barrow Geoff’s studio.
http://crippledblackphoenix.com/
4. A Journey Down The Well / The Funeral Album
Sweedish/Turkish trio, explores new a new style of post-rock in their debut The Funeral Album with the instruments violin, cello and piano.
http://ajourneydownthewell.blogspot.com/
5. Do Make Say Think / You, You’re A History In Rust
Constellation record’s brand new band, Do Make Say Think uses the drums with a jazzy style and combines their music with lovely guitars and wind instruments.
http://www.domakesaythink.com/
6. Stars of the Lid / Stars Of The Lid and Their and Their Refinement Of the Decline
Making their ambient music familiar to thousands of people, Stars Of The Lid enjoys making their drone based music.
http://brainwashed.com/sotl/
7. Eluvium / Copia
Matthew Cooper’s ambient project Eluvium, gives birth to its best album, Copia
http://www.eluvium.net/
8. God Is an Astronaut / Far From The Refuge
God is An Astronout is known for their soft post-rock sounds sometimes turns to hard as metal. Irish band makes one of their best records so far…
http://www.superadmusic.com/god/
9. Joy Wants Eternity / You Who Pretend To Sleep
Sometimes naive, sometimes chaotic. A post-rock band with three guitars. You can enjoy this album while you are pretend to sleep.
http://www.joywantseternity.com/
10. Explosions in the Sky / All Of A Sudden I Miss Everyone
If your favourite Explosions In Sky album is The Earth Is Not A Cold Dead Place, you will love this album too.
http://www.explosionsinthesky.com/ "

[via]

虽然老了点2007年的，我竟然不知道arcade fire是属于Indie的，亏我听了他的歌听了许久，觉得非常喜欢，hmm 难怪会喜欢

Ambient 推荐Bosques de mi Mente

2008 – Ruido Blanco

2007 – LO-FI

2007 – Trenes de Juguete

暂时只有这3张专辑

钢琴弹的很不错，个人认为首首都是精品。

Ólafur Arnalds Variations Of Static 这张专辑，个人也很喜欢

………………………………………………我是分割线………………………………………………

PostRock

近期听了蛮多

不过都不如今天新听的，来自韩国的PostRock团 Loro’s 로로스

Loro’s – Dream(s) [2009]

Loro’s – pax [2008]

Pinback – Loro [1999]

三张专辑，其实是偏indie的，不过很难讲，区分如何去区分，其实有点你中有我，我中有你的感觉

通度寺肉照

jimey — Sat, 10 Oct 2009 06:09:45 +0000

……

这个寺和肉放一块还真的很黄很暴力

这个表情..我怎么能摆成这样…

来个正常点的. lol

来个白痴表情吧..阿门..这个装俺当年18岁的依然看起来很18..只可惜要再加个10了.lol 没看出来吧.哈哈

话说这件T是我当年最爱的style，在广州穿了很多年，穿了很多件，印象中这一件T是我04年12月份买的.

平时没穿过，差不多放了5年的T 穿起来还是很和谐的

踩草地，这个草地也不知道能不能给踩的，也没标识牌..后面是通度寺的大图书馆，貌似也是个大讲堂.房子下面还是个地下停车场.

^.^

以上.这发型就…大家自动忽视好了…

US DRAMA

jimey — Wed, 23 Sep 2009 10:17:37 +0000

Californication 03×01 – Wish You Were Here (Sunday at 10:00 pm Sep/27/2009)

Dexter 04×01 – Living the Dream (Sunday at 09:00 pm Sep/27/2009)

CSI: NY 06×01 – Epilogue (2) (Wednesday at 10:00 pm Sep/23/2009)

CSI: Crime Scene Investigation 10×01 – Family Affair (Thursday at 09:00 pm Sep/24/2009)

好像就暂时看这么几部了。等这周开播csi先

dexter 4.1看过泄露版了

[ZT]锅&油

jimey — Thu, 27 Aug 2009 11:53:57 +0000

干炸带鱼用“热锅热油”炸花生米用“冷锅冷油”
锅里放油，油热之后再放菜开始烹调……这是一般人做菜的程序。其实做不同的菜，对放油的时机和油温的要求也不一样。油多热的时候该放菜呢？常见的情况有三种，即“热锅热油”、“热锅凉油”和“冷锅冷油”。
“热锅热油”是多数人炒菜时放油的程序。即先把食用油放入炒锅，然后加热，油会随着炒锅的温度升高。“热锅热油”分为“热油锅”和“旺油锅”两种。
热油锅：俗称“五六成热”，此时油面微有青烟，油从四周向中间翻动，原料下油后，其周围出现大量气泡。一般用于干炸、软炸等类型菜肴的炸制；滑炒、滑熘、油爆等类型菜肴主料的滑油。
旺油锅：俗称“七八成热”，此时油面有青烟，用手勺搅动有响声，原料下油锅后，周围出现大量气泡，并带有轻微的油爆声。一般适用于炸制菜肴，如干炸带鱼，干炸里脊。也适用于烹制红烧、干烧类菜肴之前的过油，如红烧肉、红扒肘子、干烧鱼等。还有将油烧至十成热的，可以做火爆燎肉，葱爆羊肉等。
“热锅热油”虽然用途广泛，可也会遇到麻烦。比如在烹调鸡、鱼等含水量较高、质地较嫩的原料，或用蛋清、淀粉浆过的荤性原料时，常会出现粘锅现象。这个时候，就要调整一下放油顺序，采用“热锅凉油”法来解决。
“热锅凉油”主要适用于滑制菜肴。为防止干烧锅的危险，可先将锅内倒入少许油一起烧至八九成热时，将油倒出。然后再放入适量凉油，烧至三四成热时，先进行滑油，再进行滑炒或煸炒，如滑炒里脊丝，清炒虾仁等。做奶汤的时候也适用，如奶汤三鲜等。“热锅凉油”法烹制的菜肴松散爽脆，质嫩不绵，还能起到不粘锅、防止菜肴破碎的作用。
还有一种用得比较少的方法，叫“冷锅冷油”。即将油和原料同时放入锅里后，再开始小火加热，这种方法主要用于炸制，也叫“吞炸”。以油炸花生米为例，先将油和花生米一起放入锅内，再逐渐加热。加热时宜用小火，看到花生米变色就要关火，等油冷却下来后将花生米沥出。这样炒出来的花生米才酥脆，不会外糊里不熟。同样做法的还有炸松子仁、瓜子仁、椒盐蛇段、蒜香排骨等。

无关博文

2008-10-27 -- Asia-Pacific Conference on Communications (0)
2008-12-10 -- 我們不應該再通信了 (0)
2009-01-21 -- Weekend Project: Host Your Own Web Services (0)
2008-11-10 -- Continue Your Own Learning and Development (0)
2009-08-05 -- 小逛怡情 (0)
2009-03-27 -- Installing FreeNX in Ubuntu 8.04 Hardy & 8.10 Intrepid & 9.04 jaunty Ibex (0)
2008-11-13 -- 基本上这周又快要过去了 (0)
2008-08-28 -- 发一个hdbits邀请 (26)
2009-04-02 -- 饭否@回复后->Twitter提醒脚本 (0)
2005-11-12 -- Micheal Bolton (0)
2009-03-06 -- 使用Eclipse CDT 开发NS2 (0)
2006-01-25 -- 数学系毕业生年薪达6位数 (0)
2008-11-16 -- 半夜睡觉 (4)
2009-02-09 -- 精，气，神 (0)
2009-02-02 -- Ruby 1.9.1发布 (0)

July Skies Southern Orchards

jimey — Thu, 20 Aug 2009 03:02:56 +0000

http://www.last.fm/music/July+Skies/_/Southern+Orchards

真的好听

又一个ambient

转向Ambient

jimey — Wed, 19 Aug 2009 07:58:41 +0000

一直以来都是听post rock

近期听了一段巴赫的钢琴

想转换下风格开始找有piano的post rock

没想到比较有代表性的其实很早之前就有

我听了许久的Epic45

其实一部分原因也是因为Last Days

在what.cd找Last.Days的时候又找到的Goldmund 然后又找去Swod接着是Peter Broderick

其实最终看来，乐器不是最主要的，因为这些人的专辑里面有piano也有小提琴，还有一些竖琴等等之类的

主要还是要随心意，听了之后感觉

1.周围真的空旷了

2.只有歌

3.自己被围了

以上即可达到目的了

来一张Goldmund的专辑封面

acrylic, pigment transfer on canvas
2004
10 x 10 inches
Artwork for Goldmund’s 2005 album Corduroy Road
Transfer Process: www.hollisbrownthornton.com/information/transfer.htm

一共有3部专辑

2009 – The Safety of the North

ambient, electronic, experimental, idm, spoken.word, neo.folk

Last Days – The Safety Of The North
Label: n5MD
Catalog#: MD 166
Format: CD, Album, Digipak
Country: US
Released: 09 Mar 2009
Genre: Electronic, Non-Music
Style: Ambient, Spoken Word, Experimental, Neofolk
Credits: Producer, Written-By – Graham Richardson
Recorded By – Ken Negrete
Rating: 4.25/5 (4 votes)
Discogs: http://www.discogs.com/Last-Days-The-Safety-Of-The-North/release/1661209
Tracklisting:
01. The City Failed (4:57)
Voice – Clemmie Law
02. May Your Days Be Gold (3:10)
Vocals – Fabiola Sanchez
03. New House (2:11)
04. Fracture (6:10)
05. Thoughts Of Alice (3:05)
Voices – Jodie Davis, Neamh Rose Breen
06. Run Home (4:53)
07. Life Support (6:52)
08. Your Silence Is The Loudest Sound (3:20)
09. This Is Not An Ending (5:05)
Voices – Clemmie Law, Neamh Rose Breen
10. The Fields Remember My Father (4:20)
11. Missing Photos (2:04)
12. Nothing Stays The Same, Nothing Ever Ends (5:57)
13. You Are Stars (3:46)
14. Blue And White Flowers (3:57)
15. Onwards (6:20)
http://www.n5md.com wrote:

Graham Richardson’s Last Days project returns with its latest full-length The Safety of the North. Richardson has fully embraced his cinematic tendencies, expanding his creative palette to include spoken excerpts, a vocal collaboration with Fabiola Sanchez of Familiar Trees, and a "script-based" compositional approach. Drawing on a theme first explored in Sea’s "Arrival at Jan Mayen" (in which its sailor is first excited by the prospect of a distant island home, then disappointed by its barren terrain), The Safety of the North tells the story of Alice, her parents and their relocation to a remote northern land. Disappointed with the trappings of the city, they wish for a simpler, more rewarding way of life. Their arrival promises clean air, miles of snow covered fields surrounded by forests and mountains but above all, safety and a protected existence. As dark as it is light, the Safety Of The North explores relationships, loss, recovery and how hope is the only certainty in life.. With a strict script in mind, Richardson divided the album into 15 "scenes," scoring each with a new focus on the emotional states of his characters and the settings they inhabit. Using the same tools he employs on his previous albums (i.e. field recordings, song titles, and album art), along with snippets of dialogue, monologue and more diverse instrumentation, Richardson guides the listener through Alice’s initial departure, hopeful beginnings and eventual tragedy in what may be Last Days most melodic work to date.

http://www.boomkat.com wrote:

Running through Last days’ The Safety Of The North there’s an elaborate, very clearly defined narrative. The album tells the story of protagonist Alice and her parents as they settle for a new life in a remote northern land. This curious, tragic yarn is told through excerpts of dialogue, monologue and textured instrumentation. According to Last Days’ Graham Richardson the album is divided into fifteen ‘scenes’ rather than tracks, and the producer goes out of his way to make every bar of his music evocative of a specific segment of his story. Inevitably, without language this all takes on a more impressionistic tone, which proves to be no bad thing: the opening ‘The City Failed’ busies itself with stormy field recordings, marking a transition between the steely guitar-spun quiet and a more raw and chaotic sonic environment. Next comes the more illustrative ‘May Your Days Be Gold’, a vocally fronted piece that makes the tale a little clearer, but soon enough field recordings and intensely atmospheric post-rock passages arrive, guiding us through the subtly magnificent ‘Fracture’ and the Tape-like tuneful electroacoustics of ‘New House’. As the album develops it only seems to get more involving, turning out stunning electronic/classical hybrids like ‘Missing Photos’ (which would be equally at home on Make Mine Music as it would a Kompakt Pop Ambient selection) and the glacially paced elegy ‘Blue And White Flowers’ which is part Max Richter, part Sigur Ros. It’s so easy to be massively put off by any sort of story-based concept album, particularly when the recordings in question are chiefly instrumental affairs and don’t explicitly outline anything in particular, but The Safety Of The North quickly sheds its conceptual baggage, winning you over with its clearly defined emotional poise and all-round compositional elegance. This third Last Days album is quite an achievement and surely one of the very finest things the n5MD label has released in some time. Highly recommended.

2007 – These Places Are Now Ruins

ambient, electronic, experimental, folk, instrumental

Artist : Last Days
Title : These Places Are Now Ruins
Format : Compact Disc
Catalog# : MD151

n5MD wrote:

Last Days’ follow up to 2006â€™s â€œSea.â€� â€œThese Places Are Now Ruinsâ€� is by the artistâ€™s admission a personal journey about revisiting the past and accepting the present is something we can all truly identify with. The album tells, strictly through feelings, of expectations, disappointments, distance, and the futility of attempting to reclaim lost memories. â€œThese Places Are Now Ruinsâ€� is not so much a concept as â€œSeaâ€� but instead a loosely chronological album documenting thoughts and emotions experienced when returning home after having moved away. The result is often dark and abstract when recalling fears or memories we can’t forget but also touching on moments when one explores hopes for the future and the impact loved ones and special times have had on our lives. Last Days’ sound remains at times cinematic yet slightly lo-fi and now features more live instrumentation giving â€œThese Places Are Now Ruinsâ€� a wider diversity and more fullness of sound. Few things stay the same and those things we wish would change never do. â€œThese Places Are Now Ruinsâ€� examines these themes and over its duration accepts that it’s sometimes best for us all to leave the past where it isâ€¦

The Silent Ballet wrote:

Score: 7/10
On These Places Are Now Ruins, Graham Richardson’s (aka Last Days) follow up to last year’s delicate Sea, noticeable changes are abound. For starters, Richardson has opted to step away from the conceptual art and embrace the empirical. The album’s name accurately describes the reinterpretation of the artist’s memories, be them distant and faded or immediate and potent, and this provides a larger arch to the album which claims to tie the works together despite an apparent lack of tangible commonality between the tracks themselves. This approach has several resonating effects on These Places Are now Ruins, the most obvious being that moods are not held onto very long, as each subsequent memory may have an entirely different emotion attached to it. However, it’s interesting to note that this album is, predominantly, much darker than its predecessor, which obviously goes a long way towards unearthing Richardson’s personal life. But that’s a story for another time…
The buzzword for this album is abstraction; Richardson’s intent becomes clear without much effort: These Places Are Now Ruins seeks to step out of the shadows of the cinematic, ambient influences that Last Days came from and instead adopt a technique that is more grounded in lo fi, organic sounds that bring in more live instrumentation than most will give him credit for. And this is a success; the abstraction couples well with the album’s theme and Richardson makes it all pretty painless for the listener. Nothing dives too deeply into background music and nothing lingers in the self-indulgent area of pretention as well. A balance between substance and expression is maintained for the better part of an hour, and it’s within this region where Last Days is truly impressive.
An issue does arise with accessibility, which is a common point of conflict for releases that have trouble deciding if they are experimental or cinematic. Richardson is not committed to making a stance one way or another, and therefore forces the listener to do it themselves. As such, some tracks are bound to appear either decadent or impoverished, depending on what mindset the listener has chosen. Ideally, a middle ground should be reached by the listener where he can easily conform to the varying soundscape provided by Richardson, but there is a strong sense that his personal journey and the one which the listener traverses are not the same, which means an inherent disconnect is established from the very beginning. In any case, he’s putting a lot of faith in his audience to not be complete dolts, and call me pessimistic if you will, but I just can’t see many people really ‘getting’ the point he’s trying to drive home here.
Undoubtedly, this is a minimal complaint; the album is nonetheless enjoyable, for the tracks do end up functioning well enough by their own, and any eventual motif resurrected from the audience just heightens the experience. I raise the issue because it’s precisely what holds Richardson back enough to prevent this from being a really outstanding album. Certainly Richardson has done well to distance himself from landmark artists such as Stars of the Lid, Loscil, and Deaf Center, but this move towards abstraction does mean that he’s now upstaged by much more proficient artists such as Richard Chartier, Taylor Deupree, Alvo Noto, and others. But, for a sophomore release, it’s expected to see the artist still coming into his own sound and experimenting with possible new directions, inevitably creating a slightly disjointed work of art in the process. Regardless, Last Days is a quickly rising star who’s likely delivered n5md’s top album of the year and given himself plenty of room for future growth. This is an exciting time for Mr. Richardson.
-Lee Whitefield

2006 – Sea

ambient, experimental, post.rock

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Artist info:

Last Days (AKA Graham Richardson’s) music explores personal themes of stasis and flux, escape and acceptance, security and upheaval. Drawing his moniker and ethos from the bittersweet emotions that often accompany periods of transition and loss, Last Days contrasts the intimacy of lonely field recordings and elementary instruments (a child’s accordion, a single repeated piano note) with cinematic shoegaze swells and complex, interlocking melodies created by the latest in digital technology. The resulting mixes are often melancholy, but ultimately hopeful, acting as musical elegies to the places we can no longer go.
Growing up in Newcastle Upon Tyne, Richardson pursued music sporadically, playing drums for local bands before shifting his focus and detouring south to study graphic design. Completing his degree in 1997, he applied his trade in the mental health field but, after four rewarding, yet creatively stifling, years, decided to pack up his recently acquired PC, mic and guitar, and head north to Scotland. While the mood certainly preceded the move, Edinburgh’s darker, colder climate and close proximity to nature proved influential in developing Last Days signature blend of brooding synths and pastoral neo-folk. Inspired by the likes of Eluvium, Sigur Ros, and Jasper TX, Richardson continued writing and revising in relative obscurity until February 2006 when he was discovered in Port-Royal’s Myspace friends list by Mike Cadoo (AKA Bitcrush) of the Oakland-based n5MD Records. With nine tracks already in the can, the timing could not have been better, resulting in the release of Last Days full-length debut Sea just seven months later.
Noting his penchant for writing soundtracks to lonely, isolated places, Richardson devised a unifying narrative for Sea, which chronicles the hapless travels of a disillusioned man who, leaving his family behind, sets sail to find a new home. Through a combination of eerie, abstract set pieces, signpost song titles, and bleak cover art by Liam Frankland (another Myspace find), Sea captures the anxiety, confusion and yearning of a man lost at sea with only his ill-defined desires to guide him. Released to near-unanimous praise, Sea cemented Last Days reputation as a member to watch within the UK’s burgeoning electro-acoustic ambient scene.
Just months after the release of Sea, Richardson began writing material for its follow-up, a meditation on the inconstancy of "home." Released on n5MD in early 2007, These Places Are Now Ruins finds Richardson in far more personal territory, tracing a semi-autobiographical trip through the resonant locales and experiences of his adolescence. Book-ended (save the closing epilogue "Traveling Hearts") by "Stations" part 1 and 2, TPANR’s main body mourns the diminishing comforts afforded by fading memories and the lonely detachment that comes with discovering your "home" is no longer tethered to a tangible place. Opting for a warmer, more “realistic” approach, Richardson cuts back on the aimless synth washes of Sea, anchoring the majority of these musical snapshots (like the memories they’re exorcising) in the familiar realm of live instrumentation, intimate field recordings, and emotional post-rock builds.
For his third full length, The Safety of the North (2009, n5MD), Richardson has fully embraced his cinematic tendencies, expanding his creative palette to include spoken excerpts, a vocal collaboration with Fabiola Sanchez of Familiar Trees, and a "script-based" compositional approach. Drawing on a theme first explored in Sea’s "Arrival at Jan Mayen" (in which its sailor is first excited by the prospect of a distant island home, then disappointed by its barren terrain), TSOTN tells the story of Alice, a young girl who leaves the city with her family to settle in the rural north. With a strict script in mind, Richardson divided the album into 15 "scenes," scoring each with a new focus on the emotional states of his characters and the settings they inhabit. Using the same tools he employs on Sea (i.e. field recordings, song titles, and album art), along with snippets of dialogue, monologue and new instrumentation, Richardson guides the listener through Alice’s initial departure, hopeful beginnings and eventual tragedy.
With an approach both abstract and melodic, lo-fi and hi-tech, yearning and content, Last Days has consistently yielded music that, despite its largely digital origins, is all-together human.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

真的很不错，喜欢电子类的真的不容错过，当然也有小小的postrock

Jimey’s Life && Jimey’s World » 乐

Tintinnabuli(钟鸣作曲法)

相关博文

24 最好的剧集，没有之一

相关博文

Ólafur Arnalds – Hægt, kemur ljósið (Official Video Trailer)

相关博文

传统的颠覆

相关博文

推荐后摇团 RQTN

相关博文

看完Avarar digital 3D了

相关博文

推荐PostRock Band ->Mimas

相关博文

预定了12.17 avatar 2009 IMAX DMR 3D的韩国首映

相关博文

우리는 속옷도 생겼고 여자도 늘었다네 – off

相关博文

+ BEST IN INDIE / POST-ROCK / 2008

相关博文

Best Post-rock, Ambient and Indie-crossover acts of 2007

相关博文

推荐韩剧Iris

相关博文

歌推荐->Ambient / Post Rock

相关博文

通度寺肉照

相关博文

US DRAMA

相关博文

[ZT]锅&油

无关博文

July Skies Southern Orchards

相关博文

转向Ambient

相关博文

推荐Breathless.2008/똥파리/绿头苍蝇/窒息暴戾(台)/粪蝇

相关博文

推荐Last Days

相关博文