Underworld.-.1999-03-01.-.Beaucoup Fish.-.Junior Boy's Own

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碟片名称：Beaucoup Fish
. |) c0 c* \9 |碟片编号：1470
歌手名称：Underworld
发行公司：Junior Boy's Own
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音质标准：16bit|44.1KHz
声道数量：单声道
音乐类型：电子 欧美 经典
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2 Z& C6 i# X. U, h% D  R% ^碟片介绍：
$ s' a& ?% t7 O6 q+ k在美国,电子乐的处境是这样的:它永远不会登上榜首,除非你在麦克风面前放置一个大块头的浑汗的家伙。商业音乐权威们告诫我们:打开乐迷钱袋的金钥匙是——歌词,人们五十年如一日地热爱着摇滚乐中那些滔滔不绝、听过即忘的空洞之言和夸张浅薄、如出一辙的舞台．而UNDERWORLD在这张新唱片里用彻底的电子之声与不可思议、厌人耳根的歌词再一次获得了用TECHNO报复ROCK `N` ROLL后的快感。接着我们看以下TECHNO在这几年大红大紫之后的行情如何:歌曲如同从一个电视节目到另一个电视节目之间的广告般冗长;十分钟有气无力的磨洋工般低缓音效之后速度才开始变快;那些除了催眠之外绝对意味着NOTHING的音乐。欧洲某处:酒吧里被威士忌浸得烂醉的男人旁边、滑板青春豆荷尔蒙旁边、街头杂货铺卖烟老头睡眼旁边——我们可以轻易找到更多例子——意味着NOTHING的TECHNO在飘扬。电子乐在当代已失去了它6、7、8十年代在欧洲的生猛灵敏,它变成一块懒惰致极、愚蠢致极的模版,大多数所谓的电子“工程师”已离开了音乐本身,而仅在拷贝着其外部标志——TECHNO:响亮的湿乎乎的咂舌声吹着“现代时尚”的泡泡,一副又 一副设法冒充内行实则相互抄袭并美其名曰“采样”的姿态.．．．．．．
UNDERWORLD是少数几支一直设法突破上述规则的TECHNO乐队之一,这个英国三人组一贯为自己的TECHNO赋予了一个公式:侵犯性的节奏、背景不停爆发出的莫名其妙的怪音、与喋喋不休但委实找不出有什么意义的音乐文本。U2声明颇受其影响而上张专辑迄今已售出89000张拷贝。“BEAUCOUP FISH”里UNDERWORLD更加地无所顾忌
了。长达11分45秒的第一首歌“CUPS”歌词惊人的毫无意义,而音乐的大部分是对LED ZEPPLIN名曲“STAIRWAY TO HEAVEN”的戏谑,它一脸嘲讽地捧出了JIMMY PAGE原声指弹曲的合成赝品版本,轻巧自如的4/4-DEEP-HOUSE与漂亮的吉它声线钉在．．．．．．
& k  e( ~6 X' P0 hKARL HYDE似乎在催眠景况下发出的恰巧游离于正常人理解能力之外的肉嗓发音或合成发音在音乐气氛始终缓和但醒耳的滑动里使听者不由深陷一种舒服的精神呆滞状态——于是,这一系列惺忪懒散的演唱达到了对听者揣摩歌词意义的努力的嘲笑之目的。第四首“SHUDDER/KING SHAKE”更加固执,并更加调皮。开头几十秒滑稽扭曲的吉它揉弦之后音乐被一条汹涌澎湃的BASS-LINE所替代,音乐幻做一次坚忍的节奏攻城战,只有HYDE的嗓音极尽变化之能事。一方面他紧张、不断跌宕的声线构制着音乐的氛围;一方面他又从自己嗓音音轨里采样到几个“精彩片段”,作为节奏修饰或背景色彩被部署。......这里,看似出位的UNDERWORLR对歌词任意消极的处理、对音乐技术上的调整,其实完全没有脱离作为如今病态恶性增长的电子流行乐的某个范例的身份。电子亚文化——在最初从貌似高级的先锋、实验神坛蹦下来后,甚至作为伴舞工具时亦曾与朋克文化一样保持着个体的真实,而疯狂递增的销量与日益逼近的主流身份使其迅速退化,这里的解释是:就算那些印着“资本主义正杀死音乐”的T恤尚未存在,RAVE狂的孩子们也会自己做丝网。但这决非决定电子音乐命脉的最重点,最重点是电子乐与摇滚乐之间的“敌友关系”之处理。 我们注意到那台令人腻歪、阴魂不散的电振打击器仍始终环绕于 "BEAUCOUP FISH"中;HYDE仍未放弃他对DAVID BOWIE嗓音牛头不对马嘴、不自觉的模仿,特别在他运用含糊嘀咕的声线时,那真让人不可忍受。对这张唱片的总结是一对矛盾: UNDERWORLD力求TECHNO远离摇滚阴影的同时却在肆意勾引BEAUCOUP FISH着摇滚乐迷的好感。
歌手介绍：
若要列出90年代最具影响力的电子乐团，相信Underworld将是任何人不会忽视的名字。继承了些许第一代Underworld吉他乐队的气质并将其熔化于无休止重复的4/4拍techno律动中，低调，颓废却澎湃有力，时而亦升华入一股天籁之境，Underworld的世界是如此的迷人。大事记Underworld的历史可以回溯到80年代早期，主唱Karl Hyde和吉他手Rick Smith组建了一只乐队Freur，投身于当年轰轰烈烈的新浪潮运动中。经过83年的《Doot-Doot》和85年的《Get Us Out of Here》两张不成功的专辑之后，Freur也分崩离析。为Debbie Harry和Prince做了两年演出吉他手后，Hyde重回伦敦找到Smith，组建了industrial-funk风格的第一代 Underworld。一切依然不顺利，1988年的《Underneath the Radar》和1989年的《Change the Weather》虽曾掀起一点小小的波澜，随后还是很快销声匿迹。第一代Underworld也宣告终结。1990年，Darren Emerson，17岁，白天在一家证券交易所打工，晚上则摇身一变成为一名techno DJ。Emerson经朋友的介绍与急于寻找一名DJ合作的Rick Smith相识，随后Rick又说服了Hyde归队，于是第二代Underworld宣告成立。1992年，他们先是以Lemon Interrupt为化名发表了两张单曲《Dirty/Minneapolis》和《Bigmouth/Eclipse》并取得一些成绩。1993年，经典单曲《Rez》和《MMM…Skycraper I Love You》回到Underworld名下发表，随后的1994年一月便是首张专辑《dubnobasswithmyheadman》。《dub…》得到了英国媒体的极高评价，Melody Maker甚至称之为Primal Scream的《Screamadelica》以来最棒的专辑，然而其销量却只能算差强人意，Underworld依然是在半红不黑中打混。不似当时的英伦吉他乐队正热衷于的将电子元素融入rock或pop音乐之中，Underworld反其道行之，以techno的节奏与音乐构架为依托，配合Hyde带着浓重电子音效的梦呓式吟唱与Smith的时隐时现吉他，构筑出一套rock化的progressive techno配方。开场曲《Dark & Long》和长达13分钟的大作《MMM…Skycraper I Love You》便是这种风格的典型，亦是专辑中最优秀的作品。Underworld的音乐构造亦符合音乐现场表演的需求，他们巡回的足迹遍布了英伦、欧洲，以至日本。1995年，《dub…》被唱片公司TVT拿到美国发行，同年亦发表了单曲《Born Slippy》，成为日后Underworld事业转折点的Nuxx混音版便收录其中。96年初，第二张专辑《secondtoughestintheinfants》出版，不仅在乐评界大获喝彩，销量也一改前作的不振命运。一切更要感谢1996年5月上映的《Trainspotting（迷幻列车）》这部可谓有史以来最成功的英国电影于全球的走红，《Born Slippy（Nuxx）》作为电影结尾高潮处的点睛之笔给观众留下了深刻的印象。电影上映一个月来，《Born Slippy(Nuxx)》成为英国俱乐部每天晚上必要播放的曲目，所有人都在期待着它的再版发行，Radio One电台DJ Pete Tong甚至放出话在《Born Slippy》再版之前他会在每次节目中都播放这首曲子。公众的期望很快在7月变成了现实。by John BushUnderworld became one of the most crucial electronic acts of the 1990s via an intriguing synthesis of old and new. The trios two-man frontline, vocalist Karl Hyde and guitarist Rick Smith, had been recording together since the early-80s new wave explosion; after two unsuccessful albums released as Underworld during the late 80s, the pair finally hit it big when they recruited Darren Emerson, a young DJ hipped to the sound of techno and trance. Traditional pop song forms were jettisoned in favor of Hydes heavily treated vocals, barely there whispering, and surreal wordplay, stretched out over the urban breakbeat trance ripped out by Emerson and co. while Smiths cascade of guitar-shard effects provided a bluesy foil to the stark music. All in all, the decision to go pop was hardly a concession to the mainstream. The first Underworld album by the trio, Dubnobasswithmyheadman, appeared in late 1993 to a flurry of critical acclaim; the trio then gained U.S. distribution for the album with TVT. Second Toughest in the Infants, the groups sophomore LP, updated their sound slightly and received more praise than the debut. Unlike the first, the LP also sold well, thanks in part to the non-album single Born Slippy, featured on the soundtrack to the seminal film Trainspotting.The roots of Underworld go back to the dawn of the 1980s, when Hyde and Smith formed a new wave band called Freur. The group released Doot-Doot in 1983 and Get Us out of Here two years later, but later disintegrated. Hyde worked on guitar sessions for Debbie Harry and Prince, then reunited with Smith in 1988 to form an industrial-funk band called Underworld. The pair earned an American contract with Sire and released their debut album, Underneath the Radar, in 1988. Change the Weather followed one year later, even though little attention had been paid to the first. By the end of the decade, Underworld had disappeared also.As they had several years earlier, Hyde and Smith shed their skin yet again, recruiting hotshot DJ Darren Emerson and renaming themselves Lemon Interrupt. In 1992, the trio debuted with two singles, Dirty/Minneapolis and Bigmouth/Eclipse, both released on Junior Boys Own Records. After they reverted back to Underworld, 1993s Rez and MMM...Skyscraper I Love You caused a minor sensation in the dance community. Instead of adding small elements of techno to a basically pop or rock formula (as many bands had attempted with varying success), Underworld treated techno as the dominant force. Their debut album, Dubnobasswithmyheadman, was praised by many critics upon release later in 1993 and crossed over to the British pop charts. Hyde, Smith, and Emerson impressed many at their concert dates as well; the trio apparently relished playing live, touring Great Britain twice plus Japan, Europe, and the annual summer-festival circuit, where their Glastonbury appearance became the stuff of legend.Dubnobasswithmyheadman was released in the U.S. in 1995 after being licensed to TVT Records. During the rest of the year, Underworld were relatively quiet, releasing only the single Born Slippy. Finally, Second Toughest in the Infants appeared in early 1996 to much critical praise. The trio gained no small amount of commercial success later in the year when Born Slippy was featured on the soundtrack to Trainspotting, the controversial Scottish film that earned praise from critics all over the globe. Underworld also remained busy with Tomato — their own graphic-design company responsible for commercials from such high-profile clients as Nike, Sony, Adidas, and Pepsi — and remixing work for Depeche Mode, Björk, St. Etienne, Sven Väth, Simply Red, and Leftfield. Emerson continued to DJ on a regular basis, releasing mix albums for Mixmag! and Deconstruction. Though Underworlds 1999 LP Beaucoup Fish was initially a disappointment, critically and commercially, the band continued to tour the world. The live album Everything, Everything followed in 2000, after which Emerson left to continue his DJ career. A Hundred Days Off, Underworlds first LP as a duo since 1989, was released in mid-2002. One year later, the stopgap compilation 1992-2002 appeared.By 2005, the duo had officially been joined by one of Britains most respected DJs, Darren Price (although he contributed to A Hundred Days Off), and his work also appeared on a series of online-only EPs Underworld released during 2005 and 2006. They also recorded new material for the soundtrack of the Anthony Minghella film Breaking and Entering. Their first proper full-length since 2002, Oblivion with Bells, appeared in 2007.
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01. Underworld - Cups    11:45
/ D; R* t* E6 c. T8 _+ C02. Underworld - Push Upstairs    04:34
03. Underworld - Jumbo    06:58
04. Underworld - Shudder/King Of Snake    09:32
7 }" V( u9 {' J$ S8 J! U3 N05. Underworld - Winjer    04:29
) p0 W$ ~" s0 T: b6 \- J: w2 H06. Underworld - Skym    04:09
07. Underworld - Bruce Lee    04:42
08. Underworld - Kittens    07:31
09. Underworld - Push Downstairs    06:04
10. Underworld - Something Like A Mama    06:38
11. Underworld - Moaner    00:00
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