プライム無料体験をお試しいただけます
プライム無料体験で、この注文から無料配送特典をご利用いただけます。
非会員 | プライム会員 | |
---|---|---|
通常配送 | ¥410 - ¥450* | 無料 |
お急ぎ便 | ¥510 - ¥550 | |
お届け日時指定便 | ¥510 - ¥650 |
*Amazon.co.jp発送商品の注文額 ¥3,500以上は非会員も無料
無料体験はいつでもキャンセルできます。30日のプライム無料体験をぜひお試しください。
Virgins
仕様 | 価格 | 新品 | 中古品 |
CD, 追加トラック, 2013/10/17
"もう一度試してください。" | 追加トラック |
—
| — | ¥1,247 |
CD, インポート, 2013/10/15
"もう一度試してください。" | インポート |
—
| — | — |
この商品をチェックした人はこんな商品もチェックしています
曲目リスト
1 | Prism |
2 | Virginal, Pt. 1 |
3 | Radiance |
4 | Live Room |
5 | Live Room Out |
6 | Virginal, Pt. 2 |
7 | Black Refraction |
8 | Incense at Abu Ghraib |
9 | Amps, Drugs, Harmonium |
10 | Stigmata, Pt. 1 |
11 | Stigmata, Pt. 2 |
12 | Stab Variation |
商品の説明
2013 release, the follow-up to the Electronic artist's Juno-awarded Ravedeath, 1972 album. Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance. The sound palette of this work is wider, almost 'percussive' and tighter sounding than previous works. While this album remains committed to a painterly form of musical abstraction, it's also a record of restrained composition recorded live primarily in intimate studio rooms, employing woodwinds, piano & synthesizers towards an effort at doing what digital music does not do naturally - making music that is out of time, out of tune & out of phase.
登録情報
- 製品サイズ : 12.6 x 14.1 x 0.79 cm; 45.93 g
- メーカー : Kranky
- EAN : 0796441818327
- 製造元リファレンス : unknown
- オリジナル盤発売日 : 2013
- レーベル : Kranky
- ASIN : B00E0KZG3M
- 原産国 : アメリカ合衆国
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 111,884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)
- - 2,322位ダンス・エレクトロニカ (ミュージック)
- - 26,016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。
モントリオールが誇るドローン/ノイズ/アンビエントの巨匠、Tim Heckerの7thは、そういった類の感情を強烈に煽る野心的な傑作です。
La Monte YoungやJohn Cageら、20世紀初頭のミニマリズム黎明期のミュージシャンたちへの憧憬をこめて"Virgins"と名付けられた本作。
前作でも使われたピアノとチャーチオルガンに加えて管楽器も使用され、レイキャビク、モントリオール、シアトルの3都市でレコーディングされました。
"Ravedeath, 1972"とそのピアノ・スケッチ集"Dropped Pianos EP"での展開を考えれば、本作でHekcerがそれを踏襲してライブ志向を究めたことは、決して意外ではありません。
しかし、それがこれほど冷徹で、痛烈で、緊張感に満ち、絶望的なアルバムになるとは誰も想像しなかったのではないでしょうか。
本作で強い存在感を放っているのは、間違いなくピアノ。
上述したミニマリズム黎明期を彷彿とさせる、ある意味ではたいへん「クラシカル」な演奏ですが、本職のピアニストNico Muhlyが参加した影響もあり、"Dropped Pianos EP"よりも大幅に磨きがかかっています。
振り香炉がぼんやりと映し出されたPVも印象的だった"Black Refraction"はそれを最も素直に反映した曲で、
何かをこするような効果音や、終盤の大雑把な編集は、まだ技術が未発達だった時代のピアノ・ミュジークコンクレートへのオマージュのように聞こえました。
しかし、全てのトラックがこれほど素直なわけではありません。
例えば、本作の中核を成す二曲"Live Room"と"Virginal II"。
Valgeir Sigurosson、Ben Frost、Randall Dunnらをエンジニア、ミキシングに招聘しただけのことはあり、細部に至るまで作りこまれたノイズはいびつで不気味。
Muhlyのピアノも、強迫観念的な妄想にとりつかれたかのように、激しくヒステリックで執拗にループされる。
エモーショナルで孤独なピアノの独奏が、次第に近づいてくる絶望的なノイズの前に脆くも崩れ去っていく様を聞いていると、得体のしれない何か恐ろしいものに侵食されていく恐怖、そしてその先にあるカタルシスを感じずにはいられません。
彼の作品としては他に類を見ないほどインダストリアルなノイズがビートを組み立て、木管楽器が近寄りがたい神聖さを放つラスト・トラック"Stab Variation"など、ピアノレス・トラックの方ももやはり今までのHekcerとは一味違う出来栄えです。
"Ravedeath, 1972"に続き、ノイズ・ミュージック、アンビエントのファンなら必聴と言って良いでしょう。
2010年代における、このジャンルのマイルストーンとなることは間違いないように思われます。
追記)一年近く経ってようやく気付いたのですが、おそらくジャケット画像の元ネタってアブグレイブ刑務所での拷問を撮影したあの有名な写真(頭に布をかぶせられ台の上に立つ囚人が写ったあれ)なんじゃないでしょうか。"Incense At Abu Ghraib"なんていう曲もありますし。
他の国からのトップレビュー
Un disco sentito, profondo, commovente.
Consegna impeccabile come sempre.
I’ve never listened to TIm Hecker before, but if Virgins reminds me of anything, it’s a sadder Aphex Twins’ Selected Ambient works, because this album is really sad. A Piano sounds like it is dying in ‘Black Refraction’ and the strings that open following ‘Incense at Abu Ghraib’ feel so sorrowful. We are taken through Virgins with our eyes closed and our hands bound in pleasure until we reach the brutal stabbings of ‘Stab Variation’, which really isn’t too far from the eerie atmosphere of opener ‘Prism’.
It’s really with ‘Live Room In’ and ‘Live Room Out’ that this album shines, and it’s doesn’t really shine, it just moves into a different room in the haunted house, a room filled with awe. The creaking piano notes and the strange sounds that are being thrown at me, I don’t even know how they were created, and I like that. And the ending to ‘Live Room Out’, it gets me every time.
Overall, Virgins is an album when listened to through speakers becomes an incredibly detailed and layered experience that you could divulge in forever, soaking in it’s comfortable waters, but when listened to through headphones becomes compact and lonely, a brooding sadness for lonely winter nights that will never bring you to tears because it is cruel in its beauty.
With this metaphor the transition from Tim Hecker's “Ravedeath 1972” to his newest effort Virgins seems to be described best.
As many listeners might have first heard Hecker through his 2011 album, there is no doubt that with every release, he furthers his lane of innovative instrumental – any other tag such as ambient seems to be failing for me – music. His Ravedeath is best described as nocturnal, maybe even depressing music. And this doesn't necessarily mean synonymous with sad and downbeat, but rather refraining from every color, black and grey in tone and putting the listener through a set of emotions best described as desolate. One can't really say that Hecker made a much “upbeat” record with Virgins (who'd want that anyway) but that he added a crucial color to the compositions reminiscent of Ravedeath and his Dropped Pianos – the color white. And with this addition the listener is welcomed into a very different experience of soundscapes, ideas and tones.
Already the introductory track “Prism” seems to glisten and give of a kind of warmth with its processed organs and what sounds like many layers of synths piercing through it. After this, what even in length could be described as the radiant parallel to 2011 “The Piano Drop”, on “Virgins I” the listener isn't thrown into any thick layer of sound but wanders through hammered keys with the textures of noise slowly taking the forefront again, just to drop out and repeatedly overpower the organic keys. Whilst following “Radiance” feels like the drony intermission that signifies the defeat of what felt like instruments being played without any processing, “Live Room I” leads back to the hammered keys – now clearly used as a kind of motif – played higher and more delicately this time around.
Here one could come to the conclusion that Virgins seems to be the invert of Ravedeath: As the latter was a highly textured amalgamation of sounds that was here and then graced with the sound of keys, on Virgins the keys more or less take the forefront and the heckerean` static grandiose while still be very much present, is toned down; not trying to crush the listener but reeling him in with a certain warmth that almost gives of a churchly feel. And still, with the following pieces Virgins II and the sum of all “Black Refraction”, the sound never tires out or becomes what might be associated as being ethereal. There is still very much urgency and substance to the compositions of the tracks. This might be the church music of the post-everything era, but very much so it doesn't seem to rest on itself or implications of anything to be searched after, the crystallized textures and fine keys seem to be a hand out for active contemplation and a sense of beauty any other contemporary adhering to the more general ideas of music will never reach.
The interlude “Incense at Abu Ghraib” seems to be the introduction to a very stretchy closing sequence in a way. Sticking with the sensation of a mass procession and the burning of incense, what was crafted over the first half of the album now critters and crumbles away leaving many warm traces and hints of its original components. The duo of Stigmata I + II tears away the bright washes of sound into the previously heard sensations of Harmonium eschewing any crisp tones entirely. “Stab Variations” closes the circle of light started in “Prism” and seems like the slow disappearance of what was in comparison screaming in your face earlier.
After the rising passage of light and clearing of perception - the movement from black into sudden white, the experience yet again ends in a kind of greyish embrace of sound. And right here one might find a spot of tedium in the album. With the finish of Black Refraction, there doesn't seem to be much more left to experience and the high rise ends in a lengthy outro with many stages. But still this fits the arc of this record and you'll definitely not feel the urge to end the experience any sooner then Hecker intended you to – you might just not remember your way out of the church as much as the procession you were graced to witness. Tim Hecker once again has created a unique experience without any kind of repetitions. The more organic approach pays off very well and one can definitely leave Virgins feeling lighter while still being overwhelmed by the sheer beauty Hecker can create while eschewing harmony and somewhat challenging the listening experience known to man.
Best Track: Live Room
9 / 10