专辑中文名: Beneath These Fireworks
歌手: Matt Nathanson
资源格式: MP3
发行时间: 2003年10月14日
地区: 美国
语言: 英语
简介:
又发现了一个令人欲罢不能的声音，这个歌手据我所知，绝大部分中国歌迷应该是一无所知，就连外国歌迷其实也不是很了解。但我同样知道，许多人在听完了他的歌后就喜欢上了——像我一样.这是他到目前为止的最新的一张专辑（实际也是他由主流厂牌发布的首张专辑），向大家推荐！
专辑介绍：
也许我更喜欢“The Curve of the Earth”这首歌，但实际上每一首都十分好听。
他们的音乐就是最最简单、最最“纯朴”的摇滚，用音乐分类来描述的话——就是General Rock。
喜欢Howie Day、Gavin DeGraw、Marc Broussard、John Mayer的歌迷应该同样也会喜欢他们的歌。
也许国内歌迷对他们的唯一了解就是《美国派3》原声大碟中，他们翻唱James的 "Laid" 。
Matt Nathanson的这张专辑展示了他过人的音乐天赋，特别是这些歌曲不仅拥有强烈并且动感十足的曲调，更拥有诗一般的歌词，而经过他的演绎，你会忍不住被其中的真诚、直接所感动。
如果你厌倦了那些过于商业化的歌手和专辑，厌倦了虚伪和包装，而追求一种坦诚而直接的音乐，这张应该是你所想要的！
San Francisco's Matt Nathanson has released five independent albums and an EP in the past ten years, and through steady touring and a dynamic stage presence, has built up a loyal fan base. Beneath These Fireworks, produced by Ron Aniello, is Nathanson's major label debut, and he doesn't waste the opportunity, cherry picking a trio of songs from his earlier releases ("Bare," "Bent," "Lucky Boy") to re-record, and with some radio-ready new material, the result is an impressively cohesive pop album. Nathanson's songs are full of the fractured hearts and broken confessions of unhealthy relationships, and while his lyrics stray at times into an ornate despondency, the sheer pop smarts and giant hooks in the arrangements more than compensate. The brief opening track, "Angel," sets the tone here, with Nathanson's smoky tenor conveying a kind of knowingly pleading intimacy, the sort of thing Paul Simon does so well in his songs about relationships gone slightly askew. At other times, the cynical pop energy at work here is reminiscent of Marshall Crenshaw, with bright arrangements masking deeper concerns. The gorgeous "Pretty the World" is the real gem on this release, and its desperately infectious chorus ("show me how pretty the world is") deserves to be all over the airwaves. ~ Steve Leggett, All Music Guide
歌手介绍：
Born 26 years ago in Lexington, Massachusetts, Matt grew up playing his sparkly, red, k shaped guitar along to records by Kiss, Def Leppard and AC/DC. He formed his first band in boarding school in 6th grade and dreamed that one day he too would be in big hair and spandex, rocking the world with the best of them. Luckily, a few years later, Matt was led down a different musical path. With a little help from some semi-hip school teachers, he was introduced to the music of Elvis Costello, 10, 000 Maniacs, Suzanne Vega, Sinead O'Connor and U2. He realized that even though melodies and hooks were important, it was the lyrics that carried the true weight of a song.
Insert an acoustic guitar, years of failed relationships (both musical and romantic) and lot's of Raymond Carver stories and you pretty much have Matt's trajectory from blossoming metal head into solo, heart on sleeve, singer songwriter.
Matt recorded and released his first album while still a student in Claremont, CA. Titled Please, the collection was comprised of 13 songs built around aggressive, acoustic guitar playing and honest, biting lyrics. Believing that acoustic instruments were the best vehicles for conveying emotion, Matt made a point of having no electric guitars on the record.
Matt built on this idea even further with the release his second CD, Ernst (1997). Recorded in his new hometown of San Francisco, ernst was largely influenced by Bruce Springsteen's, Nebraska and the early records of Ani Difranco. The songs are sparse but beautiful with Matt's voice accompanied by little more than a lone acoustic guitar.
And it was this way that Matt performed, opening for Fiona Apple, Toni Childs, Richard Thompson, Ben Harper and Dar Williams to name a few. In these environments, Matt quickly learned that, without a band, an audience needed more than great songs to grab onto. They needed to feel invested in the performer. Following the lessons taught by great singer/songwriters like Greg Brown, Lyle Lovett and Shawn Colvin, Matt loosened up. He started telling stories from the stage and adding the occasional tounge-in-cheek Bon Jovi or Maddona sing along. These covers struck a perfect balance when played next to his own, emotionally charged songs. The audiences began to stick. They returned to shows, brought friends, bought every CD and began to spread the word.
Matt's third CD - a compilation of unreleased songs called Not Colored Too Perfect --was released 1998. It was at this point that Matt decided it was time to enter the studio with a full band. Recorded mostly around Christmas, 1998, at a farm/studio where Tom Waits has recorded his last few records, Still Waiting For Spring offers the perfect balance of singer/songwriter intimacy and rock band well, rock. With the help of members of Counting Crows, the John Hiatt band, FAR and indie rock darlings Creeper Lagoon, Spring successfully mixes electric and acoustic guitars, drums and bass with less traditional instruments like hammond organ, pedal steel, harmonium, chamberlain and strings.
With the release of Spring, coupled with frequent touring (both solo and with band) and a website which gets as many as 13,000 hits a month, Matt has been able to build a strong and loyal fanbase across the U.S. with each new record selling more than the last. Even though the major labels have come knocking, Matt seems uninterested, and with the next year booked up with more tours and the recording of CD number five, who can blame him.
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