因乐成瘾002-虚构的高能实验（edit）

因乐成瘾002-虚构的高能实验（edit） Nj: Ronez 这期节目的两张CD，代表了实验摇滚、爵士摇滚高能实验的最热情喷射，当然其中也不乏黑暗的角落。这都是属于劲儿特别大的音乐，后劲儿也大，上瘾指数四颗星。Ronruins - <Big Shoes>这张CD是我跟东京一位喜欢东亚女子流行音乐团体的朋友TRADE得来的，Scorch Trio - <Brolt>这张CD是布利斯班的好朋友Paul Forbes Mitchell送我的，他是Scorch Trio和Seefeel的脑残粉，他自己喜欢在LINUX系统里折腾Glitch/IDM音乐。这两个团体各有一个非常非常NB的鼓手，RUINS的吉田达也，Scorch的Paal Nilssen-Love，在Experimental/Avant Garde圈，他们应该分别是日本和欧洲数一数二的了，而且合作的Project和作品出版都非常的多。 track list: Ronruins - <Big Shoes> 01.Ronruins - Heavy metal syndicate (Impro) 02.Ronruins - What do you say (Anderson) 03.Ronruins - I love banana (Impro) 04.Ronruins - L.T.A. Ketsuno ana (Yoshida) 05.Ronruins - Marionnette de Stravinski (Anderson) 06.Ronruins - Sunset through the trees (Anderson) 07.Ronruins - Impro with Haco 1 (Live Big Apple-Kobe-2000-11-06) 08.Ronruins - Impro with Haco 2 (Live Big Apple-Kobe-2000-11-06) Scorch Trio - <Brolt> 09.Scorch Trio - Olstra 10.Scorch Trio - Basjen 11.Scorch Trio - Hys 12.Scorch Trio - Gaba 13.Scorch Trio - Graps Ruins专辑介绍：by François Couture Guitarist Ron Anderson playing with the Japanese avant-prog-core duo Ruins? That's just too many mad cooks working on the same stew! The things they share are obvious on paper: fast-paced, ultra-complex writing paired to a sense of derision and musical farce. The recorded results provide all that and more, but on first listen Big Shoes comes through as a Ruins album, first and foremost. Even the pieces written by Anderson sound less his than pure Ruins. It's after a few listens that you start noticing his favorite chord changes and his rhythmical complexities -- which are different than Tatsuya Yoshida's madcap paradiddles. The main set consists of 16 tracks between 40 seconds and five minutes in duration. A few improvisations open up some space for Anderson &`&s trumpet calls, offering short respites from the highly organized (and fast!) clatter of the compositions. Anderson &`&s "What Do You Say?" and "Marionnette de Stravinsky" provide highlights, along with Yoshida's "L.T.A. Ketsuno Ana" (introduced by a vocal a cappella trio, oui madame ) and the improv "Heavy Metal Syndicate" (what, this isn&`&t a song?). The pseudocloser, "Sunset Through the Trees," adds an American garage rock feel to the Ruins' mind-boggling riffs. The disc ends on two bonus tracks, slightly longer live improvisations with singer Haco . Less focused and tentative-sounding, they still pack quite a punch, although Haco &`&s squeals never really set in. Recorded live at Penguin House in Tokyo on November 14, 2000 (1-16), and at Big Apple in Kobe on November 6, 2000 (17-18) Additional recording and mixed at Magaibutsu Studio. (total time 63:08) Acoustic Guitar – Tatsuya Yoshida (tracks: 5) Bass, Vocals – Sasaki Hisashi Drums, Keyboards, Vocals – Tatsuya Yoshida Guitar, Trumpet, Vocals – Ron Anderson Vocals – Haco (tracks: 17, 18) Scorch Trio专辑介绍：by Ned Raggett Norwegian jazz in general has long grown out of whatever perceptions or stereotypes held back wider acceptance of it in earlier years, and the New York-based Scorch Trio continues to prove this on Brolt, the group's third album, swiftly recorded in a two-day session in Oslo following the conclusion of a European tour. Raoul Björkenheim's guitar and Paal Nilssen-Love's drumming take slight precedence over Ingebrigt Håker Flaten's bass work and electronics, but this is no slight against the latter performer; his careful anchoring of the bottom end is as fluid as one could want and provides the pivot for Nilssen-Love's explosive fills and Björkenheim&`&s exultant feedback. The guitarist's love for Eric Dolphy's finest work is particularly audible; something about the way he goes all over the place and then hits one high mark after another on the opening "Olstra" sounds like sheer joy in release, distortion not as anger but as pure energy and sudden grace. When the band locks into their version of a big metal stomp, the sense of the live recording is almost palpable; Nilssen-Love's drums hit but don't wallop, calling to mind Bill Wardas much as anyone else, while the looser jams on a song like "Hys" or "Gaba," the latter of which is a classic "start out calm and then get louder and more frenetic" move in action, also have a tactile quality. Their quieter performances, like the tense as heck "Basjen," Björkenheim's controlled tones arcing in and out of the near silence, and the spacious opening to "Bluring," cymbal hits and crackling guitar scrapes rising out of shadow, are no less compelling.