专辑英文名: The Hawk Is Howling
歌手: Mogwai
音乐风格: 摇滚
资源格式: MP3
发行时间: 2008年09月22日
地区: 英国
语言: 英语
简介:
唱片公司：Wall of Sound
地区：苏格兰,Glasgow
音乐风格：Post-Rock / Experimental / Indie Rock / Experimental Rock
压缩比率：VBR V0
专辑介绍：
这帮来自格拉斯哥的高人从来不叫大家为他们的下一张专辑的质量而担心，“品质保证”似乎是他们的专有名词。与以往的一成不变相比，此次的他们大胆做了些尝试，新专缉是Mogwai历年以来第一次完全没有放入人声的一张，甚至连像《Hunted by a Freak》中的扭曲了的人声采样sampling也没出现。比起上一张《Mr Beast》更是两个极端，清空人声后的他们变得更放肆，经典的模式：静-嘈-静玩到了炉火纯青。纯粹的乐章精彩了得。
Mogwai看来是天生的电影配乐高手，充满画面感的音乐信手拈来，那张为足球大师齐达内纪录片所灌录的原声已经成为无论是歌迷还是影迷的经典。新专辑第一首《I'm Jim Morrison I'm Dead》让人联想回早期的《Yes! I Am A Long Way From Home》，浓厚的剧场感和磅礴的气势份量十足。《Batcat》是一首典型的Mogwai的歌曲，与《Glasgow Mega Snake》相似的是在一连串狰狞的吉他声重型的节奏把气氛提到极点后激烈的爆发在一瞬间消失，只剩下零星回响徘徊在耳边与脑海中。虽然 “Mogwai式”的音墙在《Danphe And The Brain》与《Local Authority》中略有收敛，但感觉是刚猛爆裂后的恬静，仿佛是在延续上一曲的荡气回肠。Demo版本的《The Sun Smells Too Loud》与专辑正式版的区别很大，虽然都是轻快的田园派，但正式版里却多了份力量。不温不火的《Thank You Space Expert》让人倍感温暖。
新专辑不属于那种在第一时间就让人为之动容的专辑。它慢热且丰富有深度。面对已经泛滥成灾的后摇市场，作为旗帜性的Mogwai要考虑的是接下来应该去做什么，是在音乐上的大胆变革？还是维持一贯的风格？(转自网络)
With each album, Mogwai discovers new ways of balancing the power and subtlety of their music. On The Hawk Is Howling, the band returns to its roots, working with producer Andy Miller for the first time in a decade and delivering its first set of completely instrumental songs in several albums' time. This is the most massive Mogwai's music has felt in quite awhile — and for a band that turns in expansive pieces as regularly as they do, that's saying something. "I'm Jim Morrison, I'm Dead" opens the album with shades of Mr. Beast's sparkling beauty, but it uses every second of its nearly seven minutes to more climactic effect than the previous album's subdued approach: beginning with intertwining pianos and keyboards, it teeters on the edge between beautiful and ominous, ratcheting up the tension until the song finally dies out with a violin that bleeds into feedback. That still doesn't quite prepare listeners for the wallop that "Batcat" — which is The Hawk Is Howling's lead single — packs. It's no secret that Mogwai loves metal and has never shied away from heaviness in their own music, but even their most churning workouts seemed to hover; "Batcat" hits the ground hard, and with a blunter impact, than any of their previous guitar workouts.
As fantastic as "Batcat" is, it represents The Hawk Is Howling only as proof of how wide-ranging the album's sound is. "The Sun Smells Too Loud" is aptly trippy and surprisingly poppy, with wispy electronic textures and a huge rhythm section that gives the song almost planetary heft; and though "Daphne and the Brain" doesn't hit any peaks or valleys, its rolling majesty and shadowy guitar melodies are still awe-inspiring. Between these major statements, The Hawk Is Howling takes breathers with smaller-scale tracks, like the glittering "Kings Meadow," that reveal their intricacy with repeated listens. The album's second half expands on that subtlety in different ways: Though the Heathers-quoting "I Love You, I'm Going to Blow Up Your School" climaxes in a skewering guitar solo, it's preceded by six minutes of artful counterpoint and jazz-tinged drumming; "Scotland's Shame" takes the opposite approach, with strong rhythms propelling a pensive melody for a uniquely mournful yet hard-hitting result. These tracks demand close listening, which makes "The Precipice"'s slow-burning tribal rhythms and swarming guitars even more dramatic as the album's final statement. At first, it's tempting to want all of The Hawk Is Howling to be as obviously powerful as its biggest tracks, but with time it reveals itself as one of Mogwai's most masterful blends of delicacy and strength.
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