专辑英文名: Day One
歌手: Sarah Slean
音乐风格: 流行
资源格式: MP3
发行时间: 2005年
地区: 加拿大
语言: 英语
简介:
压缩比率:256kbps CBR
专辑风格:Pop/Indie
Sarah Slean最早在1997年的多伦多的巡演现场登上舞台的；她的首张单曲唱片Universe很快发行。作为一个熟练的、接受过传统训练的钢琴演奏家，这个安大略湖畔的皮克林镇人在多伦多大学从事着音乐的学习；在这段时间，她渐渐地以一个充满魅力和激情的现场表演者而著称。
Sarah Slean alternates personalities, by day she's the aspirant academic, lugging armloads of texts, by night fall she swaps her bookish eagerness and channels the statuesque baroness, a fictional grande dame whom she conjures to enamour audiences with her cabaret-chanteuse charms.
Slean recently returned from a seven month-long stint in France to her home in Toronto. After the transcontinental promotion of her kaleidoscopic album Day One (2003), the piano-pop sprite plucked a few tracks from her reservoir of live performances to release Orphan Music, a collection of songs for the musically minded, whimsical fugitives and circus strays.
"I just got back in September from France. I knew it was going to be quite a shift so I enrolled back in university," says Slean. "I'm taking philosophy and music courses at U of T. I'm such a nerd, I love school. I think I need to allow that period to gestate and ferment before it all is clear."
Slean is an opus of instrumentation, thought, poetry, art and fanciful idealism. In addition to the four studio albums under her belt - Universe (1997), Blue Parade (1998), Night Bugs (2002) and Day One, the avant-garde composer published a poetry anthology Ravens, starred in a cinematic film-noir Black Widow and assembled an art show with Canadian-based artistic director Louise Upperton of Arts & Crafts record label, titled Bleak House. Slean's playful, sinister bittersweet, adroitness resembles a children's storybook gone-askew.
"I haven't really been making much art. I was so consumed with survival while living in France, trying to stay alive," she says. "I did a lot of song writing. I did make some art, but nothing that will be for the public's consumption. It was more of problem solving, process kind of art. But there is a slim body of poetry in the works."
In 2003 Slean experienced an existential catastrophe, she gave away most of her belongings and took to the woods with her piano. Once the onslaught of mania passed, her tears dried, the bottles drained and her good sense leaked in, she slowly, gingerly began to write again. Eventually she crawled out of the bleakness and rose from the ashes of her doubt, the result being her call to Renaissance album Day One.
"France was an elongated version of the woods. I have all of that stuff inside me, I have a rich library to draw from," she explains. "I wrote some songs and didn't finish others, I'd like to sit and work with them. Now that I have returned, I have a sense of home. A sense of stability, my piano is in my room. I can play it whenever I want to. I like having structure in my life."
"Maybe getting off the roller coaster that is the ups and downs has helped. I'll always need to be unhinging. Dismantling makes you stronger."
Slean coins France as version two of the cabin exile, as she feels it's vital for her to take herself out of familiar rituals of daily living, lick her eyeballs clean and view everything from a fresh perspective. She's a bohemian virtuoso at heart, yet a ripe-minded pupil in practice, Slean seems to be caught in a paradox of her own creation.
"I love it. I feel stronger. Maybe getting off the roller coaster that is the ups and downs has helped. I'll always need to be unhinging. Dismantling makes you stronger. You have more understanding of who you are. But I was having such a thirst, a need for stability. It's really strong these days and at the end of my time in France. It's really nice to be still, to look around."
Orphan Music features live recordings from Toronto's Harbourfront performance with the Bruce Spruce String Quartet, including the literate ballad "Eliot," "Last Year's War" and "Narcolepsy Weed." She returns to Halifax with a collection of sounds to perform solo at the
Rebecca Cohn on Dec. 1. Local jewel David Myles shall warm the stage with acoustic tracks from his sophomore disc Things Have Changed (which features an appearance from our city's own beloved Jill Barber).
"I think the direction I'm headed towards is more orphan music, I think I'm getting over my Leonard Bernstein, wild opus phase," says Slean. "I wanted to give the sense of the relationship between the audience and the performer with the live record, even if I was having a bad night singing or whatever, if the power was there, the flood gates were open, you can really sense the connection. That's what I was looking for."
供源时间:
周1~5:18:00~22:00
周六日:12:00~00:00
