發行版本:Virgin Music (EMI France) (09463785112 8)
音樂風格:Yann Tiersen's own / Live / Instrumental / Rock(?)
專輯介紹:
應該說Yann Tiersen的音樂風格還是多變的,印象中,他的作品更多還是呈現在Instrumental方面,帶有Classic與New Age的元素,不過這張專輯卻是搖滾的樣子,大感意外,雖然不是筆者喜歡的類型,但相信有更多的愛好者會喜歡它.這張專輯是現場錄音,LIVE性質的,聽起來效果很好.
Yann Tiersen出生於法國一個傍近海邊的小鎮，從小對音樂有著狂熱摯愛的他，從6歲開始就學習小提琴和鋼琴，這種多元化的音樂積累,造就了他無與倫比的音樂天賦,隨著經常參加電影短片的配樂，加上他本身對樂器的深度理解，使之在影像和音樂的結合中，顯得和諧完美。Yann Tiersen象許多音樂人一樣，他用他對音樂的理解诠釋著每一次創作。1995年推出首張專輯《La Valse Des Monstres（野獸的華爾茲）》，這是一張令人相當愉快的專輯，幽雅而飄逸，節奏令人翩翩起舞，樂風體現了法國人的浪漫特色，悠揚舒緩的節奏，層層疊疊的樂感使人置身於永恆的音樂殿堂。這張專輯自然得到了相當好評。1996年，Yann Tiersen推出了第二張作品《Rue Des Cascades(水瀑之路)》，在這張專輯中，Yann Tiersen第一次在其作品中嘗試加入vocal（人聲），這無疑是成功的。1997年的第三張專輯《Le Phare(燈塔)一》推出，馬上受到各方樂迷的追捧。小提琴，曼陀鈴，電吉他，鋼琴，結合在一起創造出了令人驚歎的節奏變化，使他的音樂充滿異國風情的韻味。單曲”Monochrome”被法國各媒體廣泛的傳播，掀起了一場潮流，所有人的目光都聚焦在這一個才華橫溢的天才身上。這時的Yann Tiersen才27歲…
人們開始對他以前的作品表示出極大興趣，自然而然，早期的作品被重新發行。Yann Tiersen的音樂引起了法國音樂界的廣泛注意，法國名導安德烈泰希內就選用了Rue Des Cascades作爲《”la Vie rｅvｅe des anges”（甜蜜愛麗絲）》的開場音樂。1999年，Yann Tiersen推出第四張專輯《Tout Est Calme(一切平靜)》，這一次，他邀請了Married Monk等幾位頂尖樂人助陣，他們的加入很大程度豐富了這張專輯的內容，在傾聽中，你甚至覺得有點搖滾味道。
2001年成爲Yann Tiersen又一事業轉折點，在《L’absente(缺席者)》專輯中。他找來了英國的Neil Hannon，美國的Lisa Germano共同完成了這張專輯。他將不同國度的文化元素和音樂元素揉合在一張作品裏。理所當然，這張專輯得到了各方面的大肆贊揚。
2002年爲《Amelie From Montmartre(天使艾美麗)》的配樂，進一步鞏固了他在樂壇上舉足輕重的位置。輕柔的鋼琴和悠揚的口風琴給我們營造了一個舒緩美妙的世界。在作品中手風琴的運用讓音樂中夾雜著一種介於民謠和舞曲的情緒。這張專輯當之無愧的榮獲比利時電影節最佳電影原聲帶的獎項。
細細聆聽Yann Tiersen浪漫、真誠、感性、自然的音樂，感受那種愉悅的感覺。這個充滿激情的天才會繼續他的音樂創作 ,我們所能做的，就是等待…
When you listen to Yann Tiersen, you can forget about all those 'live' albums that sound just like studio albums but with added applause. Yann Tiersen On Tour was indeed recorded in public, but it comes over as being very, very different from his previous releases; all in all, it's a new album.
Gone are the lilting tunes and frantic waltzes. No more piano (well, almost none), accordion and violin. Banished is the solitude of the multi-instrumentalist musician, because Tiersen strapped his electric guitar on a while ago, and recruited a no-nonsense band to go with it: "We set out to explore the freedom of playing together, discovering each other; there's a real chemistry here."
They had a great time as a particularly penetrating rock combo, criss-crossing Europe, honing their act from concert to concert, and ultimately deciding to play homage to their finest moments on this album. Althrough Tiersen has loved rock since his adolescence in the days of Nick Cave and Joy Division, he hasn't forgotten his own past experience and previous recordings. In fact, he carefully retained one key element: the melodic qualities.
Indeed, he's done it so well that the dense rock on this album, awash with simmering guitars and the oh-so-strange pulse of the Ondes Martenot organ, offers a harmonious quality that carries all before it. But it's not all guitars; there's space here for vocals and lyrics, too. Tiersen has never sung so much, finally hitting the right tone and he's been hinting at on his past few albums.
There are no other guest vocalists on this album, aside from a modicum of female vocals added for the sheer timeless wonder of once again hearing the ethereal singing of Elizabeth Fraser (Cocteau Twins). There's also a highly unusual version -- but startlingly obvious when you think about it -- of Ma France À Moi, recorded at the Printemps de Bourges festival and arranged by Tiersen and his band, with French female rapper Diam's belting out the vocals and Grégorie from the rock band Têtes Raides on saxophone.
Everyone always says how implausible the idea of making rock music is in France, Well, here's another French exception, an album that is impressively consistent, psitively purring with electric pleasure and an exceptional tension that runs unwaveringly throughout the entire album.
NOTES:
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