Iron & Wine -《The Shepherd's dog》[MP3!]

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  • 时间: 2007/09/30 16:15:46 发布 | 2007/09/30 16:18:36 更新
  • 分类: 音乐  欧美音乐 


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专辑中文名The Shepherd's dog
歌手Iron & Wine

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专辑类型:Indie Rock / Alternative Singer / Songwriter
专辑厂牌:Sub Pop


07年Iron & Wine的最新专辑。

Iron & Wine:独立民谣时代的都市乡愁

佛罗里达州的迈阿密,是美国最南部的大都市。上个世纪晚期,加勒比海流域大批移民涌入,城市老龄化问题日益严重,经济飞速发展的春天中止,这里似乎与欣欣向荣的南部其他地区割断了联系。在这样的城市里出现身患都市怀乡病的Iron and Wine,似乎是再自然不过的事情。

Iron and Wine其实是Samuel Beam一个人的乐队,或者说,只不过是他的艺名。这个大器晚成的男人成名之前是一名电影老师,在佛罗里达州立大学任教。1999年Beam有了一台四轨机,于是躲在卧室里捣鼓一些lo-fi小玩意儿成了他的一大爱好。一开始这只是个消磨时光的法子,跟其他人看电视一样,继而他惊讶地发现自己竟然有那么多的歌要写,灵感如滔滔江水绵绵不绝,以至于四轨机报废了,不得不添置一台电脑。

假如没有Sup Pop公司一次偶然的聆听,Iron and Wine也许至今仍在他的卧室里自娱自乐。作为专业的乐迷,Sup Pop的高层人士彻底被征服了,出于职业的敏锐,他们立刻明白这也是大众寻找已久的声音。经过几个月苦口婆心的劝说,Beam终于将自己积攒的,足够两张专辑长度的作品寄给了Sop Pop。公司最初的想法是将小样按原样做成两张CD发行,仍旧是出于职业的敏锐,他们意识到这样做似乎对乐迷太过慷慨。在Beam的协助下,十二首感觉互相契合的曲目被精心挑选出来,于是有了Iron and Wine 02年的处女作“The Creek Drank the Cradle”。

2004年的“Our Endless Numbered Days”是Iron and Wine的第一张录音室专辑,它意味着Beam完成了从业余爱好者到音乐家的转变。专辑的音色乾净,简洁的编配让Beam的声音和歌词成为听众关注的焦点。精良的技术手段丝毫没有乾扰“Our Endless Numbered Days”发自内心的简单澄澈,Beam像是收起翅膀的天使,停在你的肩头娓娓道来。在其他音乐家的协助下,这张专辑有了比“The Creek Drank the Cradle”更加丰富的音乐语汇,无数精致的小细节激活听觉末梢,让人又惊讶又感动。到底是大学教师,Beam看似不着痕迹的遣词造句凝练而深刻,坦白、持重的语句摒弃了任何一点矫揉造作。Iron and Wine不是那种听一耳朵就能让你欣喜若狂或者号啕大哭的音乐,它慢慢流进你的心田,渗透下去,灌溉你,滋养你。

值得一提的是,辞去教师职务专职从事音乐创作之后,电影依然没有从Beam的生活中退出,甚至继续在他的音乐中扮演重要角色。Iron and Wine的作品在电影界颇受亲睐——“Garden State”的原声中收录了多首他的作品,“Woman King”中的“The Trapeze Artist”就是为电影“In Good Company”而写。平面设计与摄影专业出身的Beam已经为自己的三首歌拍摄了MV,希望今后能继续拍更多。

很难说清楚Iron and Wine的音乐风格。蓝草和另类乡村的根基,田园牧歌般的沉思默想,从某种程度上与Nick Drake、Sparklehorse遥相呼应。以诗意隽永的语言表达极为个人化的生活感受,思想的内向性、深刻性让人想起Conor Oberst和Elliot Smith的都市民谣。“在我大量接受采访之前,我从来没有考虑过如何给我的音乐归类”,Beam说道,“我想我喜欢‘民谣’这个标签。我最近意识到民谣是除了古典音乐之外的一切音乐,无论说唱还是摇滚乐都一样,民谣就是来自民间的音乐。”

事实上给音乐归类只是一个类似于乐迷入门指南的东西,当Iron and Wine不落窠臼的音乐响起,相信你会有自己的判断。音乐好,管它何门何派?凉爽的夏夜,满天繁星照耀下宁静的海滩,这就是第一次听Iron and Wine时我的感受。钢筋水泥的丛林中,我们依然可以找到释放情感的地方,有些细腻、脆弱的情怀仍然能够得到抚慰。幸好有音乐,这一刻,泛起的不只是音符,还有似曾相识的乡愁。(转)

Iron & Wine have shown an impressive work ethic since the release of The Creek Drank the Cradle in 2002. A flood of singles, EPs, and albums, each with high levels of quality, have made Iron & Wine and Sam Beam stars in the indie rock world. Introspective, leaning toward morose, and heavily bearded stars, but glittering just the same. 2007's The Shepherd's Dog goes a long way toward validating all the attention I&W have been getting; it's their best, most diverse, and most listenable record yet, as Beam and co. take another leap away from the lo-fi, one-dude-in-a-bedroom beginnings of the group. Here Beam surrounds himself with a large cast of musicians, and they blanket the songs with a wide array of instrumentation, everything from accordions to Hammond organ, piano to backward guitars, vibraphone to bass harmonica. Nothing too strange in the everything-goes world of indie rock circa 2007, but for Iron & Wine, it's a widescreen revelation. Perhaps working with Calexico on 2005's In the Reins inspired Beam to use all the colors in the paint box. Maybe it's a natural progression. Either way it leads to an inspiringly lush album, full of imaginative and rich arrangements. Not to say Beam has cast aside the vital elements that made the band so interesting to begin with; his whispered vocals still conjure shadowy mystery, the songs are still melancholy as hell at their core, and as always there's a lingering sense of Southern gothic foreboding shrouding the proceedings. The increased production values take these elements and goose them. The recognizably I&W songs like the dark and creepy "Peace Beneath the City" or the gloomy country ballad "Resurrection Fern" sound bigger and have a different kind of impact. Take "Boy with a Coin," which in the past would have been spare, spooky, and a bit insular, but now is huge and spooky thanks to the propulsive handclaps and atmospheric backward guitars that would make Daniel Lanois jealous. Along with these pumped-up variations on the band's classic sound, there are songs you'd never imagine hearing on an Iron & Wine album. The danceable (!) "House by the Sea" has jumpy Afro-pop underpinnings and a bit of wild abandon in Beam's more passionate-than-usual vocals; "Wolves (Song of the Shepherd's Dog)" is a funky mix of David Essex's "Rock On," a backwoods-sounding Meters, and of all things, dub reggae; and most shockingly, "The Devil Never Sleeps" actually rocks with a rollicking barroom piano, a loping tempo, bongos, and lyrics about nothing on the radio, leading to a sound that's ironically perfect for the radio. By the end of the record, you may feel a few pangs for the discarded, sparse sound of early Iron & Wine, but the beauty and majesty of The Shepherd's Dog will pave right over them, and you should be able to enjoy the masterful songcraft, inspired performance, and note-perfect production with no guilt and a fair bit of awe.


01. Pagan Angel and a Borrowed Car
02. White Tooth Man
03. Lovesong of the Buzzard
04. Carousel
05. House by the Sea
06. Innocent Bones
07. Wolves (Song of the Shepherd's Dog)
08. Resurrection Fern
09. Boy With a Coin
10. The Devil Never Sleeps
11. Peace Beneath the City
12. Flightless Bird, American Mouth







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