Eri Sugai -香 Kaori CUE tagged within[WV]

此内容仅供注册用户。请 %登录%.

资源信息：

专辑中文名: 香
专辑英文名: Kaori
艺术家: Eri Sugai
版本: CUE tagged within[WV]发行时间: 2004年
地区: 日本
书我要，下载先！ http://www.books51.com/ 祝您开卷有益！

概述:

发行版本:Pacific Moon Records (CHCB-10051 / PMR-0051)
专辑风格:New Age, Ethnic Fusion
艺术家:Eri Sugai(菅井爱里)
专辑介绍:
和月是大家熟悉的日本唱片品牌，他们制作的新民乐和休闲音乐在日本、中国和欧美都享有盛誉。菅井爱里是和月旗下颇有代表性的音乐才女，一直活跃于日本影视配乐和广告音乐界。她不仅一手包办自己专辑的作曲、作词、制作和演唱，而且以其独特的“超多重和声”手法，营造出极尽空灵梦幻、“仿似非人间”的天籁歌声，素有“日本的恩雅”之美誉。但相比恩雅单声部的演唱模式，菅井爱里多声部的层次对比要丰富得多，乐曲风格和人声的演绎也更多姿多彩。在《舞》和《香》中，她以变幻莫测的声音渲染出一片神秘绚烂的东方异彩，令人叹为观止的声乐技艺直逼人声表现力的极限。
沙沙沙~。从唱片散发出来的香味犹如穿透竹林般清透苍凉的风。翡翠般葱绿~水泠泠。犹如居住在竹节的空间里精灵们寂静的私语。仿佛重重迭迭的竹叶清爽透彻的冰凉蔓延开来。即使反反复复地重重迭迭地，五彩斑斓的声乐也愈加呈现出透明感来。
神仙赋予的四季变幻的岛
憧憬着异国土地的不断转变的岛
不能忘怀的永不破灭的
持续咏唱的心
这是上一张专辑“舞”中吟唱的“今昔物语”中的一节。那种想法得以在这张专辑中渲染得更加浓厚。
从开阔庄严的前奏开始，昔日日本的“学习歌”…超越了加麦兰（一组印尼民族官弦乐器）和Diji的民族乐器，她的声音将日本的风趣娓娓吟唱。在种类纷繁的国家的乐器跳跃中，菅井的声音鼓舞人心地在音浪间跳跃着，编织着音符。即使是“竹筒滴水”一种乐器，也能不断升华，慢慢过渡到后半部分的巴洛克、祇园祭、大太鼓的波动起伏的节奏，这是其精华所在。
那里有空灵，有对大地的赞颂。
她自身演绎的声乐没有国境，但是你难道没感觉到那回响在耳边富含语感的音乐，充满了令人怀念的对日本风景的热爱么？
不难想象菅井绘里对音乐制作别具匠心。将自己的声音多次重复录音，在这合唱基础上突出作为主轴的嗓音。将声音不断地重迭，构筑成了自我声乐的世界。
一边引线编织着昔日以来日本的美，一边将祭祀和仪式同时向天供奉的音乐的绚彩，以人类的天籁之音无极限地表现出来的作品传达到开阔的天空。
这是一张不仅要你“听声音”，还要你产生“闻香味”想法的专辑。正因为到过各种各样的国度旅行，所以能明确区分本国与他国的音乐共存，对四季变幻的岛的无尽热爱的菅井绘里的乡愁，在每个音符里沸沸腾腾地源源不断地拍打出来~~。 —–(转)
It is unbelievable how poorly the modern Asian music is known in other parts of the world, especially in Europe. European and American crossover artists such as Enya and Adiemus sell millions of their albums fairly easily, but unfortunately, they leave also many smaller but at least equally wonderful artists behind.
Review. One of these great artists almost totally unknown outside Asia is Japanese Eri Sugai, whose stunning debut album Mai (review) was released in 2000 in Japan and in 2001 in several other territories. Additionally, Eri Sugai performed on Air by the ensemble Stella Mirus (review), who are planning a new release soon. Eri Sugai’s new album is entitled Kaori (Pacific Moon (Japan) CHCB-10051 (PMR-0051), 2004). Eri Sugai’s music will most certainly appeal to fans of Adiemus and Miriam Stockley to name a few.
Musically, Kaori is very carefully made, a great wholeness, which kind of continues from Sugai’s debut album Mai. The features of Asian and Japanese music cultures are still strongly featured in the music; in addition to the invented phonetic lyrics, Eri Sugai has successfully used e.g. Asian gamelan instruments, shamisen, sitar, Chinese flutes, and lots of percussion, and she literally makes the music to tell stories. Stories from imagined voyages to Asia, stories from the Okinawa area in a modernised folk song “Teinsagu Nu Hana” which also features some African-sounding, Adiemus-like vocals, and so on. Even the 1300-year-old well-known composition “Etenraku” has been splendidly modernised, so that the old and the new traditions go smoothly hand in hand on that song.
Although those Asian flavours are still strongly present in Eri’s music, that feature is not making the music to become numb or boring. Also, much criticism has been expressed about new age or crossover music, insisting that the artists of those genres are producing samey music from album to another, this is not the case with Eri Sugai at all. Eri Sugai’s music is indeed diverse and very enjoyable with all kinds of flavours and rich ideas, but that doesn’t make her music too diverse either!
Both melodically and rhythmically, Kaori is a splendidly made album, featuring dynamic pieces such as the lilting “Breath of Earth” as well as the sequel to “Song of Birth” (from Mai), entitled “Kunino Sazuchi,” and very melodic, almost angelic and heavenly piece “Eternal Prayer” which features baroque-like chorus setting. Another piece which deserves a special mention is “Silence,” featuring the idea of “shishi odoshi,” a bamboo water piece in the Japanese tea garden which gently plops when releasing the water from its hollow and hitting the rock beneath it. Eri Sugai’s idea of using sounds like this in her music is indeed an unique and a wonderful one, and the idea is resulted as a delicate, unwinding piece.
Each and every track on the album is an important part of a big musical rainbow, a rainbow which wonderfully contains numerous and numerous colours. And, the more one listens this album, the more colours, different hues and dimensions can be found. The musical experience is so unforgettable that the more one listens the album, the more difficult it is to place the pieces into any ranking. This property is one of the features, which every musician and songwriter should keep always in mind when making music.
——————————————-
Like a fresh fragrance. Arising from the album like fresh wind weaving out of the bamboo grove. You can hear the quiet whispering of the spirits that they say dwell in the hollows of the bamboos. Just as the layers of bamboo leaves are so refreshing and coolÉ the layers of brightly hued singing voices become also so crystalline clear.
Gift of the deities ……….. this island of four seasons
Allured by foreign lands ……….. this changing island
Do not forget ……….. do not destroy our ancient ways
The heart that feels and speaks
This is a stanza out of ‘Konjaku Monogatari’ (Stories, modern and ancient), recorded in the album MAI. Eri’s heartfelt feelings from the album continues on to this album. From the majestic voyage in the opening she goes on to the ancient ‘story song’ of the second, and in the third, transcending the ethnic instruments gamelan and the didjiridoo, her voice begins to weave the aesthetic sounds of harmony. As instruments of various nations dance in sound, Sugai’s voice throbs and dances to the waves of these sounds, runs beween these waves and weaves a tapestry of her own.
Even the bamboo water piece ‘shishiodoshi’ rises to become an instrument proper, followed up by the pieces of latter half, climaxing to Baroque, Gion Festival and the Big Drums. Here we find transitions of nature and songs of praises to the earth. There are no boundaries of lands to the words she creates yet there is such a feeling of nostalgia (for ancient Japan) in the rich resonance of these sounds. Can you not feel the landscapes, the imageries of the Japanese kokoro (the psyche) in these? But she does not stop at Japan or Asia and her attempt at integration with Western sounds is exquisite.
It is not hard to see that Eri Sugai’s music is painstakingly created. She records her voice in multi layers and the main vocal is placed on this chorus. She puts layers of voice over layers and finally her world of sounds is constructed. She weaves the ancient beauty of Japan into the tapestry. The bright hues of sounds dedicated to the heavens in festivals and ceremonies are heard here, an unlimited expression of the human voice and a gift delivered from the heavenly skies.
This album contains the heartfelt desire not only to listen to the ‘voice’ but to the ‘fragrance’ of the music. Because of her many journeys to so many lands, she knows now how her own country and other countries can coexist in harmony and this same Eri Sugai loves this island of the four seasons and her nostalgia for this ancient land pulses strongly in each piece of this album.
Eri Sugai其他作品:
《梦幻星夜》(Stella Mirus II) http://lib.VeryCD.com/2008/03/23/0000183882.html
《天空》(Stella Mirus I) http://lib.VeryCD.com/2008/01/04/0000176146.html
《舞》(Mai) http://lib.VeryCD.com/2008/05/16/0000188872.html
NOTES:
.- EAC-WV,CUE&LOG.tagged.within
.- change the .WV extension to .RAR to decompress
Format: WavPack / CUE / LOG / Scans

专辑曲目:
01. Voyage To Asia
02. Iroha Song
03. Breath Of Earth
04. Teinsagu Nu Hana
05. Silence
06. Etenraku
07. Eternal Prayer
08. Ancient City
09. Kunino Sazuchi
10. Fragrance
11. Voyage To Asia / A Cappella Version