Sven Weisemann -《音乐播放器》(Xine)[MP3]

Sven Weisemann -《音乐播放器》(Xine)[MP3]
  • 片  名  Sven Weisemann -《音乐播放器》(Xine)[MP3]
  • 简  介  发行时间: 2009年
  • 类  别  音乐
  • 小  类  新世纪音乐


  • 详细介绍简介: 专辑码率:320Kbps
    专辑风格:Ambient
    专辑介绍:
    一张让人安逸自然的氛围钢琴,音乐大多采用Piano Solo的方式表达艺人的内心,如果有时候有什么事情让自己烦心,或者疲惫!不妨试试今天带给大家的这张专辑,专辑整体亮点不多,个人认为还是很耐听的,一个字静!推荐分数:8.3分!
    相关链接:Amazon
    引用In a year when experimental techno continued its foray into the increasingly blurry realms of dub, ambient and good old fashioned retrospective rawness, Sven Weisemann has been hard at work consolidating a reputation as one of the industry’s most promising boundary-nudging stalwarts. Using the Mojuba imprint in conjunction with sister labels a.r.t.less and Wandering to mark out separate sonic arenas, the young producer has never been shy about flirting with different manifestations of the sublime. After a.r.t.less’ Shove tested his signature warm dub techno formula against moments of alternately cold, stark percussion and beatless murmur back in May, Xine Zero more recently justified Wandering’s role as an experimental deep house stable, adding a new richness to his club-friendly offerings on Mojuba. Marrying epic string arrangements and gentle piano with a low-slung pulse and vocal mumble, Xine Zero signalled the young Berliner’s next move, reclining in the moments between his hectic DJ schedule to embrace his love for modern classical ambience.Given the exploratory nature of Weisemann’s work, it’s not surprising to find his first full-length release catalogued as the label’s “first voyage.” In contrast to previous singles (filed instead as “journeys”), Xine is, as promised, a far-reaching and ambitious ambient excursion into the soundscaped world of the classical composers he eagerly name-checked to RA as influences. Boldly nailing his colours to the wall by presenting the special edition in an embossed blue notebook that references Max Richter’s masterpiece, the finished product is appropriately lush and keeps with Mojuba’s insistence that their releases embrace visual art and music synonymously. Here, the presentation supplements his intended imaginary film score, the cover appearing as a sort of stage curtain ready to majestically unveil the drama within the music.Xine opens to a gentle beat workout accompanied by a nicely padded electronic ambience, a spaciousness which goes on to underlie the rest of the album’s narrative. Controlled pressure has long been Weisemann’s strength, but the twenty short pieces instead place his piano and cello skills at centre stage, dispersing minimal refrains and immaculately placed exchanges amongst sparse, airy percussion. Weisemann has a great appreciation for subtle melody, adding to the pervasive sense of personalised melancholy that draws the listener deep into an unrelenting reverie. In fact, the changes across the complete soundscape are so slight that it becomes hard to position Xine either as something for focused listening or ambient background material, and in both cases the narrative intention is lost without any clear sense of direction or variety guiding the listener to tangible points of closure. This is a record likely to reward and test your patience in equal measure.Despite the prevailing sense of flatline melancholy, the story’s most obvious drama occurs during “Xine XI – Swan of Desire,” whose vocals literally howl at a sense of tragic loss. Elsewhere, “Xine VII”’s minimalist piano swells to a beautifully hopeful climax, and the watery bass tones of “Xine IX” and “XIII” both evoke a sense of pulsating, organic life. Xine is most successful where the electronic framework is a little more invasive and the live instruments rub against its electronic supports, suggesting Wesiemann might have the most to offer the classical world when drawing more directly on his experience in techno
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