新作はSufjan Stevens史上もっともヒリヒリする作品。
自己と向き合い続けてしまった結果、恋人への小さな感情が悲惨の膨張し、
死に向かってさえいてそこに寄り添う音楽もバンバンはじけまくる。
前作インストのBQEは個人的にスティービーワンダーの「シークレットライフ」と被る。
BQE時のスフィアンでは「僕にはもうアルバムや曲に対する信念もない」という発言をした。
([...])
BQE自体が強烈に膨張したポップの狂気であったように思える。
アメリカの車社会という映画と自己を重ねたような。
そして新作The Age of Adzは、アメリカ社会や文化や宗教などの対比するものがないぶん、
スフィアン自身がその音楽に対して裸になった。
彼に対してはBrian WilsonやTodd Rundgrenにある危険なポップの闇と同じものを感じる。
彼の膨張する天才的な音世界が、パーンと破裂して終わってしまわないで、
彼なりに緩やかに別の形に膨らましてほしいなと思います。
音作りに関してはもうスフィアンの集大成になってると思う。
イリノイ期の変拍子などはなくなったけれど、
シンセとコーラスと小楽団が「完成されたごった煮」となった。
今後も彼の音作りのスタンダードになるんじゃないかな。
歪んだ男のラブソングから次第に宇宙と神についての歌詞と、
ブックレットにある色んなロバートソンの絵も、どこかブッ飛んでる。
黒人看板画家の故ロイアル・ロバートソンの世界が本当に今作のスフィアンとぴったし合う。
8曲目のVesuviusでは、ついに自分の名前を歌詞につかってる・・
歌詞の中で彼は自分に、小道に進め(差し迫った死についての記事にたどり着く)、
炎や心に従え(床に転がらせ)と命じ、殺人鬼の幻によるパニックを見せる。
Age Of Adz
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曲目リスト
1 | Futile Devices |
2 | Too Much |
3 | Age of Adz |
4 | I Walked |
5 | Now That I'm Older |
6 | Get Real Get Right |
7 | Bad Communication |
8 | Vesuvius |
9 | All for Myself |
10 | I Want to Be Well |
11 | Impossible Soul |
商品の説明
2010 release from the critically acclaimed singer/songwriter. The Age of Adz (pronounced Odds) is Sufjan Stevens' first full-length collection of original songs since 2005's conceptual pop opus Illinois. While the sounds on this record are distinctly "artificial" (drums machines and analog synths reign supreme), the proclamations of the songs are unabashedly visceral, sung loudly, with a backdrop of insistent orchestration. The result is an album that is perhaps more vibrant, primary and explicit than anything Sufjan has done before, incorporating themes that are neither historical nor civic, but rather personal and primal (if even a little juvenile).
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 15.09 x 14.61 x 1.09 cm; 83.91 g
- メーカー : Asthmatic Kitty
- EAN : 0656605607726, 0747963055905
- 商品モデル番号 : 9446790
- レーベル : Asthmatic Kitty
- ASIN : B004132I4S
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 213,255位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 41,339位ロック (ミュージック)
- - 55,375位輸入盤
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2010年10月13日に日本でレビュー済み
Amazonで購入
2014年6月8日に日本でレビュー済み
Amazonで購入
荒涼とした音だがその静けさの中に狂気を感じてしまうようなサウンドだ。
ちょっとエリオット・スミスに似たメロディーも感じる。
今までに聴いたことの無いようなアレンジを作り上げているし、大したもんだ。
ちょっとエリオット・スミスに似たメロディーも感じる。
今までに聴いたことの無いようなアレンジを作り上げているし、大したもんだ。
2011年1月17日に日本でレビュー済み
彼の最高傑作。アメリカ51州や高速道路というコンセプトなしに自分の音楽を展開した結果、ブライアン・ウィルソン、ヴァン・ダイク・パークスの後継者として期待される彼の才気が無際限に開花していると思います。ノイズ、ゆらぎからエレクトロ、ストリングス、ホーンまでを取り込み、美しいメロディを編曲していくさまは分裂症的でもあり、偏執病=ひきこもり的でもあります。大きな起伏とうねりのある音の世界です。
25分以上に及ぶ最後の11は、大力作。
70年代のデヴィッド・ボウイ、80年代のプリンス、90年代のBECKと同じカリスマ的な役割を、2000年代以降、カニエ・ウェストとともに担っているのが、スフィアン・スティーブンスだということを決定的にした名盤中の名盤になることでしょう。しかし、歌詞が痛みに満ちているところもいかにも2010年の音楽と言えるでしょう。日本盤のみ歌詞・対訳つき。
25分以上に及ぶ最後の11は、大力作。
70年代のデヴィッド・ボウイ、80年代のプリンス、90年代のBECKと同じカリスマ的な役割を、2000年代以降、カニエ・ウェストとともに担っているのが、スフィアン・スティーブンスだということを決定的にした名盤中の名盤になることでしょう。しかし、歌詞が痛みに満ちているところもいかにも2010年の音楽と言えるでしょう。日本盤のみ歌詞・対訳つき。
他の国からのトップレビュー
C. Sadoway
5つ星のうち5.0
Excellent
2023年12月30日にカナダでレビュー済みAmazonで購入
Good press, excellent album
Pedro Serpa Oliveira
5つ星のうち5.0
Vinyl chegou a tempo e em condições
2024年4月3日にスペインでレビュー済みAmazonで購入
Vinyl chegou a tempo e em condições
amedeo
5つ星のうち5.0
bello
2021年12月4日にイタリアでレビュー済みAmazonで購入
Per me uno dei migliori albums di Sufjan Stevens.
Ture France
5つ星のうち5.0
TRES BEL ALBUM
2018年12月29日にフランスでレビュー済みAmazonで購入
Superbe album, pochette magnifique. Cadeau qui a fait très plaisir
Michael Brent Faulkner, Jr.
5つ星のうち5.0
Superb!
2010年10月21日にアメリカ合衆国でレビュー済みAmazonで購入
Sufjan Stevens had been gone `too long' from the indie-rock circuit when 2010's
All Delighted People EP
materialized on August 23, 2010. His last full length was the critically acclaimed (and a personal favorite) 2005 album
Illinois
. Only months following his recent EP, Stevens drops the true follow-up to his 2005 effort, entitled
The Age of Adz
(pronounced "odds"). The album is a departure from Stevens' most recent works, abandoning sole use of acoustic ideas in favor of electronic driven production that also incorporates acoustic elements that make Stevens so distinctive from others. The result is a busy, overt effort that is genius for the most part. Stevens's musicianship is apparent from the onset.
The album opens with the brief "Futile Devices," which finds Stevens in the comfort of his folksy sound that he has cultivated as of late. Stevens's vocal performance is restrained, free of extra frills and overt nuance, as we have come to expect of the somewhat mysterious singer-songwriter. The `stripped' sound of "Futile Devices" is quickly contrasted by the ingenious "Too Much," a cut that opens with electronics instantaneously upon the first few seconds of listening. The ideas are extremely creative and clever, finding Stevens merging his classical music brains (he still uses mixed meters) and his progressive side almost flawlessly. He does this all while making this rather uncommercial listen have some appeal with a simplistic, yet poignant hook ("it's too much riding on that, it's too much, too much, too much"). While the cut is lengthy, it is enjoyable, and the bridge between the acoustic and electronic worlds is exceptional.
"Age of Adz," pronounced "odds" is an even lengthier cut, clocking it at 8:00 in duration. Despite the length, the orchestration is experimental with superb parts for the brass and woodwind instruments. In addition to the acoustic instruments, Stevens once again combines electronics with his knack for orchestration to make yet another five-star rated performance. The only complaint would be that Stevens's rather quiet, reserved vocals (even at their most overt) are covered in the bombastic production work. The track ends, however, with strummed guitar and tender vocals by Stevens - that is the Stevens we have come to be accustomed to.
"I Walked" is another great cut, where clear vocals by Stevens laced in falsetto stand out easily. Again, with pop songwriter's craft, Stevens writes another simple, minimalistic hook that is relevant even to the most mainstream listener. The classical-sounding background vocals here ad a superb touch. "Now That I'm Older" is solid too, even if there is a `lot to take in' and `absorb' as a listener. "Get Real Get Right" contrasts a slower paced "Now That I'm Older" with a quicker pace here. Additionally, vocally, Stevens gets right to the point, entering much earlier with his voice than previous cuts. Again, pop craftsmanship is executed with a nice hook.
"Bad Communication" is one of three relatively brief cuts on this album. As always, Stevens use of instruments here is exceptional. "Vesuvius" is a stand out after several solid tracks, which begins with Stevens recapturing his acoustic ruminations. Before the 1:00 mark, the electronic drums enter, beginning to shape "Vesuvius" into another electro-acoustic masterwork. The production work is more tasteful than more bombastic performances ("Too Much" or "Age of Adz"), which is nice to hear from Stevens after so many `jam-packed' cuts. "All for Myself" is another exceptional cut and the last truly brief listen. Here, background vocals add a creative dimension, not to mention that great compositional-sense that Stevens possesses throughout this ambitious album. "All for Myself" features one of the best refrains of the album, finding Stevens singing: "We set out once, forget our shirts with hairy chests and well rehearsed, I want it all, I want it all for myself..."
"I Want To Be Well" keeps up the momentous trend with a `schizophrenic' nature about it. While it clocks in at a whopping 6:29 in duration, it is well worth the listen, if for nothing else than to hear the usually clean-cut singer drop the f-bomb: "I'm not f***ing around, I'm not, I'm not, I'm not f***ing around." Sure, that's not the sole shining (or shocking) moment, as the main refrain is not too shabby itself: "so do yourself a good, or do yourself a death from ordinary causes..." Closing cut "Impossible Soul" is truly the only questionable cut - at 25:35 it finds Stevens indulging a bit to much, even for the adept `classical music listener's' soul. There are some superb ideas and great and shocking moments (Stevens uses auto-tune!), but it is too much. What it does do, however, is reflect the `greatest hits' of this album, with combinations of acoustic and electronic sensibilities.
Exceptional album? By all means, with only few things to quibble out in my eyes. After a five-year hiatus, I am glad one of my personal favorite musicians is back on the scene with a true, full length effort. I highly recommend this album!
The album opens with the brief "Futile Devices," which finds Stevens in the comfort of his folksy sound that he has cultivated as of late. Stevens's vocal performance is restrained, free of extra frills and overt nuance, as we have come to expect of the somewhat mysterious singer-songwriter. The `stripped' sound of "Futile Devices" is quickly contrasted by the ingenious "Too Much," a cut that opens with electronics instantaneously upon the first few seconds of listening. The ideas are extremely creative and clever, finding Stevens merging his classical music brains (he still uses mixed meters) and his progressive side almost flawlessly. He does this all while making this rather uncommercial listen have some appeal with a simplistic, yet poignant hook ("it's too much riding on that, it's too much, too much, too much"). While the cut is lengthy, it is enjoyable, and the bridge between the acoustic and electronic worlds is exceptional.
"Age of Adz," pronounced "odds" is an even lengthier cut, clocking it at 8:00 in duration. Despite the length, the orchestration is experimental with superb parts for the brass and woodwind instruments. In addition to the acoustic instruments, Stevens once again combines electronics with his knack for orchestration to make yet another five-star rated performance. The only complaint would be that Stevens's rather quiet, reserved vocals (even at their most overt) are covered in the bombastic production work. The track ends, however, with strummed guitar and tender vocals by Stevens - that is the Stevens we have come to be accustomed to.
"I Walked" is another great cut, where clear vocals by Stevens laced in falsetto stand out easily. Again, with pop songwriter's craft, Stevens writes another simple, minimalistic hook that is relevant even to the most mainstream listener. The classical-sounding background vocals here ad a superb touch. "Now That I'm Older" is solid too, even if there is a `lot to take in' and `absorb' as a listener. "Get Real Get Right" contrasts a slower paced "Now That I'm Older" with a quicker pace here. Additionally, vocally, Stevens gets right to the point, entering much earlier with his voice than previous cuts. Again, pop craftsmanship is executed with a nice hook.
"Bad Communication" is one of three relatively brief cuts on this album. As always, Stevens use of instruments here is exceptional. "Vesuvius" is a stand out after several solid tracks, which begins with Stevens recapturing his acoustic ruminations. Before the 1:00 mark, the electronic drums enter, beginning to shape "Vesuvius" into another electro-acoustic masterwork. The production work is more tasteful than more bombastic performances ("Too Much" or "Age of Adz"), which is nice to hear from Stevens after so many `jam-packed' cuts. "All for Myself" is another exceptional cut and the last truly brief listen. Here, background vocals add a creative dimension, not to mention that great compositional-sense that Stevens possesses throughout this ambitious album. "All for Myself" features one of the best refrains of the album, finding Stevens singing: "We set out once, forget our shirts with hairy chests and well rehearsed, I want it all, I want it all for myself..."
"I Want To Be Well" keeps up the momentous trend with a `schizophrenic' nature about it. While it clocks in at a whopping 6:29 in duration, it is well worth the listen, if for nothing else than to hear the usually clean-cut singer drop the f-bomb: "I'm not f***ing around, I'm not, I'm not, I'm not f***ing around." Sure, that's not the sole shining (or shocking) moment, as the main refrain is not too shabby itself: "so do yourself a good, or do yourself a death from ordinary causes..." Closing cut "Impossible Soul" is truly the only questionable cut - at 25:35 it finds Stevens indulging a bit to much, even for the adept `classical music listener's' soul. There are some superb ideas and great and shocking moments (Stevens uses auto-tune!), but it is too much. What it does do, however, is reflect the `greatest hits' of this album, with combinations of acoustic and electronic sensibilities.
Exceptional album? By all means, with only few things to quibble out in my eyes. After a five-year hiatus, I am glad one of my personal favorite musicians is back on the scene with a true, full length effort. I highly recommend this album!