[樂評] Pitchfork很刻薄的樂評(但講得很OOXX)

看板U2作者aerymani (伽利略與坂本龍馬)時間15年前 (2009/03/06 15:37)推噓5(5推 0噓 5→)

留言10則, 6人參與討論串1/2 (看更多)

http://www.pitchforkmedia.com/article/record_review/149460-u2-no-line-on-the-ho rizon Why U2? How did these four Irishmen become the blueprint for every band with stadium aspirations? The Edge's churchly guitar chime-- which thrives on the same arena acoustics that can turn otherwise booming bands into mud-- is certainly a factor. So is their weakness for the big gesture-- whether it be a giant lemon, heart, or mouth. And Bono's cathartic mix of modern panacea-- love, God, mass culture-- gives them a reach to the back row and beyond. But, perhaps above all else, the band's restlessness and willingness to challenge both themselves and their patrons is why the Killers, Kanye West, and Coldplay want to be the next U2 and not the next AC/DC. It's why these four Irishmen still represent the punk spirit decades after they emerged from it. 簡單在解釋一個現象為什麼現代很多樂團如殺手肯依威斯特冷玩在邁向體育場的路上依循的道路藍圖是U2 而不是AC/DC "You've got to balance being relevant and commenting on something that's happening today with trying to attain timelessness," philosophized the Edge in the early 1990s. The quote sounds like rock star bullshit...until you realize that's pretty much what U2 did for 20 years. From 1980 to 2000, it was difficult to tell exactly what the next U2 album would sound like. Briefly: They added atmosphere to new wave, looked for God and found hits, exhumed their rock'n'roll heroes, sent-up those same heroes while losing their religion, and punctured pop via mutated techno. Each move was more audacious than the last-- even 1997 knee-jerk victim Pop saw the world-beating act taking completely unnecessary musical and financial risks in the name of Warholian post-modern pastiche. They then also managed to surprise on 2000's All That You Can't Leave Behind by successfully returning to form after shrugging off the notion for so many years. But 2004's How to Dismantle an Atomic Bomb and its subsequent tour were troubling. 可以學很多形容詞的一大段簡述了1980-2005年U2在樂壇上的一些成就與表現關鍵語就是從1980年到2000年要跟人家預言U2的下一張專輯會長什麼樣子是一件非常困難的事 That record saw four guys famous for dabbing classic rock into all sorts of impressionistic frames (or dismantling it entirely via Village People costumes) uncomfortably grasping for old-fashioned riffs, when they weren't mindlessly feasting on their own past. It was completely predictable ("City of Blinding Lights"), canned ("Vertigo"), and depressingly Sting-like ("A Man and a Woman"). But the group did little to hide the fact that they were basking in their early-century comeback's afterglow; in concert, in place of the ATYCLB tour's heart-shaped runway was a, um, circle-shaped runway. Still self-aware enough to sense stagnation, the quartet began to work on what would become No Line on the Horizon with new producer Rick Rubin and an imperative to break all those piling U2 trappings once again. As Bono told The New York Times this week: "When you become a comfortable, reliable friend, I'm not sure that's the place for rock'n'roll." 在評論這一張專輯之前先花了一些篇幅談"如何拆除原子彈"最後引到這一張的新製作人 Sixteen years ago, U2 worked a snippet of Public Enemy's "Don't Believe the Hype" into their technologically prescient Zoo TV tour-- perhaps fans should heed that bit of sampled advice right about now. Because while this group of slick talkers may have set out to expand their own definition once more, they've ended up with old collaborators Brian Eno and Daniel Lanois --along with an album that's neither relevant nor timeless. 這一段主要在講聆聽這一張的線索可以追溯到90年代初期U2的一些活動例如十六年前與Public enemy的合作與 Zoo TV tour First single "Get on Your Boots" is a worrisome harbinger-- to call it a mess would be generous. The song combines sub-Audioslave riffs with Escape Club's "Wild Wild West" and sounds more disjointed than the worst Girl Talk rip off. "I don't wanna talk about wars between nations-- not right now!" claims Bono on the song, before extolling the virtues of tight leather boots. His off-the-cuff attitude and delivery suggests a cheekiness missing from U2's music for more than a decade, but it's a red herring. While other tracks like "I'll Go Crazy If I Don't Go Crazy Tonight" and "Stand Up Comedy" feature knowing lines that examine the singer's faults and hypocrisy, the album is heavy on half-assed word-salad characterizations and the sort of meaningless platitudes Bono used to be so great at (barely) avoiding. And there's a strong theme of resignation running through the record; whereas many classic U2 tracks have come from Bono's struggle with faith and certainty, he seems content to give up agency on songs like "Moment of Surrender" and "Unknown Caller". "I've found grace inside a sound," he sings on "Breathe", and the line seems like a cop-out from a man who spent so much time struggling with salvation. Meanwhile, the album's ballyhooed experimentation is either terribly misguided or hidden underneath a wash of shameless U2-isms (the three-note ring Edge nicks from "Walk On" for "Unknown Caller", the "oh oh oh" outro from "Stay" apparently copied and pasted into "Moment of Surrender", etc.). While Eno used to work his unique sound-bobbles and ambiance into the fabric of U2 songs, he seems content to offer spacey intros totally disassociated from their accompanying tunes here (see: "Fez - Being Born", "Magnificent"). And oftentimes the band mistakes risk-taking for ill-fated arrangements and decisions. "Surrender"-- reportedly improvised in one seven-minute take-- comes across as lazy indulgence, and the title track's hard-nosed verse is torpedoed by its deflating fart of a hook. As the go-to sonic innovator of the group, the Edge dials in a particularly dispiriting performance throughout; his rare solos usually pack in enough panache to fill stadiums but his bluesy blah of a spotlight on "Surrender" would barely satisfy a single earbud. "It keeps getting harder. You're playing against yourself and you don't want to lose," Adam Clayton told Q last month. And he's got a point. After nearly 30 years of chart crashing and sell-outs, starting afresh can't be easy. There's only one "One". In a way, U2 spoiled their followers by consistently questioning themselves while writing songs that straddled the personal and collective consciousness. But Horizon is clearly playing not to lose-- it's a defensive gesture, and a rather pitiful one at that. MySpace: http://www.myspace.com/u2 - Ryan Dombal, March 2, 2009 以上三段不翻了基本上是一個一個track拿出來鞭想學尖酸刻薄的形容詞以上三段是很不錯的教材但是 Pitchfork幹嘛這樣評呢? 或許這一篇文章可以給你一些答案XD http://shower.blog.iwrock.net/post/3/1004 -- 非淡泊無以明志非寧靜無以致遠諸葛亮 (無大智者安能出此語) http://tw.youtube.com/watch?v=uhV4me_k8Y8 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 140.111.108.73

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