Ólafur Arnalds -(Found Songs)[APE]

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  • 时间: 2010/09/23 13:04:08 发布 | 2010/09/23 13:05:54 更新
  • 分类: 音乐  新世纪音乐 


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专辑英文名Found Songs
艺术家Ólafur Arnalds

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发行版本:Erased Tapes (ERATP017)
专辑类型:Neo-classical, Meditative, Instrumental, Melancholic, Touching


这张专辑比较新奇,它出自一个来自冰岛的小伙子Olafur Arnalds,它很吸引人,我已经反复听了好多天,无疑它很成功,用一种简单的方式感动了我这样的,被生活琐事烦恼的人们,他是一位post-rock创作人,但这张不是,这点我很欣喜,在北欧,摇滚乐手就象我们这个城市的乞丐,随便路过哪个角落就有可能碰上,但他这样一个年轻小伙子,以钢琴和弦乐两种简单的调调演绎出了有点凄美,有点黯淡的跨界古典氛围,也有评论了,它有点象是电影配乐,不是大气磅礴型的,属于感性委婉型,恩其他我也不说了,真心推荐给喜欢音乐人们,慢慢体会吧。

The work of Iceland's Ólafur Arnalds-- essentially a simplified, melodically forthright take on chamber music-- straddles the worlds of indie rock and classical. He's already opened for Sigur Rós, and like them, he isn't afraid to go right for the emotional jugular. Found Songs collects seven compositions, mainly for piano and strings, each created and Tweeted in a single day. Appropriately, they're concise: Grand, melancholy themes explored for two or three minutes apiece, sometimes closer to etudes than songs. But the slow pacing and careful recording lend an opulent scale to the compact spaces, and the pieces work like tiny yet detailed scenes in music boxes, charming and sad.

Throughout the album, a mood of doomed romance prevails. On "Erla's Waltz", a stately heartbreaker for solo piano, you can practically see the elegant ceramic figurines turning their tragic steps, and the plangent melody bowed across "Faun" seems to be openly weeping. There are few "difficult" passages, only limpid revolutions of melody and counterpoint with an overemphasis on climaxes. The album approaches that troublesome quality-- sentimentality-- with earnestness and faith. It's like Arnalds is picking up cues from the emotionally-charged ambient of Eluvium as the latter embarks on a new vocal-centered style.

From music-box melodies to maudlin strings, Found Songs dispenses clichés at an astonishing pace, which makes it seem both under- and overwhelming at first. (How easy is it to admire and then forget pretty albums filled with strings, pianos, and light field recordings?) It seems too stirring in a way that's too easy. But Arnalds' attention to nuance amid all the fanfare, and to tone at every moment, goes a long way toward redeeming those intense emotions we write off as puerile. On "Romance", the wearily hopeful, Satie-like piano line sidewinds briefly into a more tentative-sounding key before righting itself again, an unsentimental touch that makes everything around it more piercing.

Slight thematic complications like this hint at a formidable future for Arnalds, once he sheds some youthful excesses. But even when they smother his subtler instincts, his passions have a certain charm, and arrangements that could have been weak tea gain a palpable kick. You feel moved, but not quite used, and Found Songs feels special beyond the means of its borderline wallpaper-y aesthetic.

— Brian Howe, February 16, 2010, Pitchfork


Ólafur Arnalds transcends that curiously archaic and often intransigent boundary that exists elsewhere between 'classical' music and music of any other kind. In this Icelander's compositions, delicate piano and chamber strings are mixed with subtle electronic sounds that together create dreamlike moments amid powerful, evocative moods.

His first two releases, 2007's Eulogy For Evolution album and the follow-up EP Variations Of Static, introduced Arnalds to admirers from both sides of that divide, helping to erase it a little along the way. He toured as support to countrymen Sigur Rós and has scored choreographer Wayne McGregor's upcoming work Dyad 1909, which premiers at Sadler's Wells this autumn.

Now with the seven-song series Found Songs, Arnalds has taken classical music firmly into the here and now by recording a song every day for a week and making them available for free via Twitter. For added digital delight, the remastered 10" mini album and limited edition CD's artwork is made up of contributions from fans, submitted via Flickr.

Has the novel approach yielded surprising results? Aesthetically, Found Songs uses the same instrumental palette as his earlier recordings, though the weightings are shifted in favour of the piano and string quartet and away from the electronic effects, which this time are wispily sparse. Opening Erla's Waltz sets the scene as a piano solo.

That stark, calming moment prepares the ground for this recording's real progression: its emotional depth. Somehow in seven days Arnalds has created something not far removed from a requiem suite that, from the layered Raein onwards, tugs at the heartstrings in a manner which calls to mind Arvo Pärt and Sibelius. Allt varð hljótt brings the electronics further into the mix, but it too is a desolate work of power and beauty.

Found Songs is by turns reflective, sad, cinematic, beguiling and blissful, but by finalé Ljósið a resolution appears to have been reached; it's the record's most optimistic, heartwarming, major-scale moment. By its closing notes it's as though we've been on a journey through turbulent waters but have returned home safe. If this essential record is what Arnalds can do in a week, his second album proper can't come soon enough. - Michael Hubbard, MusicOMH

Format: EAC, APE, CUE, LOG, Scans 600 DPI
Original Release by FidorkaPosleda

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01.Erla's Waltz
04.Allt varð hljótt
05.Lost Song






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