专辑英文名: It's Not Me, It's You!
歌手: Pg.lost
音乐风格: 摇滚
资源格式: MP3
发行时间: 2008年05月17日
地区: 瑞典
语言: 英语
简介:
唱片公司：Black Star Foundation (EU) / Octave (JPN) / IML (RUS)
音乐风格：Post-Rock / Alternative / Experimental / Indie
压缩比率：320Kbps
专辑介绍：
Pg.lost是一支来自瑞典Norrköping的4人后摇乐团，成立于2004年。乐队之前曾使用 "Before You Give In" 这个名字，后来因为阵容变化而改用现在的名称。现在的乐队成员包括Gustav Almberg (guitar/keys), Mattias Bhatt (guitar), Kristian Karlsson (bass/vocals), and Martin Hjertstedt (drums).
乐队于05年发行首张同名EP。去年发行第二张EP《Yes I Am》，这张包含了5个作品的小专辑已为Pg Lost的音乐定下了基调~~~没有人声的横加干涉（其实仔细听还是有人声的），没有其他元素的喧宾夺主，只有后摇滚哀愁的描述与盎然的爆发。在后摇井喷的2007年，Pg.lost仅凭借这一张EP就成为了TSB年度50佳后摇唱片之一。
时隔一年之后，Pg.lost终于带来了乐队首张全长专辑《It’s Not Me It’s You》，与EP一样，这张专辑最突出的音乐方向还是传统的后摇滚美学，跌宕起伏，仅仅通过器乐的堆积而达到古典音乐式的宏大与壮阔。
有人说他们的音乐很暴力，我不觉得，我认为Pg.Lost 把后摇的细腻柔美和力量大器结合的非常完美，Pg.Lost 很善于优雅中爆发，但在那一串串听似山洪暴发般的吉他噪音中，Pg.lost的旋律却永远不失柔美，衔接巧妙。对于之前听多了柔美旋律的后摇入门学生而言，当我听到第一首 Pascal's law 时, 很难描述是怎样的一种震撼！之前没听是因为没有好的版本~~~呵呵
专辑中每首曲子都值得很多次的细细品味~~~
满分推荐！
What pg.lost have crafted with their new record, It’s Not Me, It’s You!”, is a post-rock album that should attract the attention of all the Explosions in the Sky whoring, A Silver Mt Zion loving, Yndi Halda worshipping post-rock kids ad get them to divert their attention away from Sigur Ros’ latest “breathtaking” record of the year candidate. While the transition from their first EP to their first full length has seen pg.lost grow a little more in line with traditional post-rock bands, they still like to defy what you expect them to do, and then do so in an absolutely deft manner.
The record begins innocuously with “The Day Shift”, which begins and ebbs like a normal post rock song would, the intro building towards its eventual “climax”, featuring one of the key pegs in the pg.lost cog: the distortion in a pg.lost song is done so wonderfully, you’ll begin to wonder if it really counts as distortion or if the music is just so beautiful you can’t hear it straight. As it begins to wind down, and you hear what would expectedly be the last few guitar notes being plucked, the song explodes into something AT LEAST five times louder and more epic than it was before. The dual guitars interweaving as the drums crash around, while the song ends in a heavily distorted solo.
Its hard to describe something so brilliant, people.
The middle of the album proceeds more tamely, with “Head High” being the only slightly weak point of the album, a generic, but still solid, track accompanied by cliché after cliché. Luckily Every song following lives up to the quality height of “The Day Shift”. While “Pascal’s Law” showcases that they can write a traditional post-rock songs and add various flairs to it (the 5 minutes of high tempo snare hits are delicious), as they abuse their echo pedals in its climax. “Maquina” continues on a similar path, except focuses more on its final crescendo than any sort of neat trickery.
What makes pg.lost different/so enthralling is that they couldn’t care less about making any part of their music “pretty”. Even in moments that should be glossy and stylized, such as the beginning of “Jonathan” where the extremely “dirty” (aka “we can mess with the levels on this part of the mix a lot!”) guitar riff makes the otherwise lush guitar work grounded, and at the same time making a fantastic juxtaposition between the ugliness of pg.lost’s work with the inherent beauty. The final song “Siren” is arguably the best song recorded this year, especially when taken in context of the album.
The most minimalist song in composition, “Siren” begins with little else other than a repeating guitar line and light synths. It goes on like this for nearly five minutes, every few moments taking the time to draw you back in with a individual guitar lick or shift in the song itself, until the drums kick in and the only true vocals on the album are heard. The song steadily builds throughout its duration, picking up steam and additional instruments until it finally erupts in a cacophony of guitars, drum crashes, and a piercing yell in the background. It is the perfect ending to the record, a release of energy that seems to have more in common with the likes of Envy than, lets say, Eluvium.
It’s Not Me, It’s You! is not for everyone, and it isn’t even for every post-rock fan. It’s a long, trying album seemingly designed to test your patience in short bursts, implanting you with the knowledge that yes, in time everything will make sense in any given song. Even when pg.lost turn into a “standard” post-rock band, they do it well and above most of their peers, and when pg.lost are *pg.lost*, they can challenge anyone else in the game when it comes to sheer talent and virtuosity. While the album may ride a little too heavily on the guitarists for many peoples tastes, it’s the best post-rock album I’ve heard since Yndi Halda’s Enjoy Eternal Bliss, and I surely hope pg.lost can build upon this and craft an album great enough to land them in direct comparisons with the Sigur Ros’ and GY!BE’s of the world.
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