New Music: Tassi, Tation, Pool of Light, An Empty City

Tassi 水树 – Northland One 北之国/Northland Two 北之国二

Headed by the frontman of Buddhist-scripture evoking post-black metal outfit Bliss Illusion, Tassi takes the former’s spiritual yet turbulent sounds and turns them outward, taking it into blackgaze territory and finding a tranquil beauty amongst the cosmos. Centered around a fictional character who, in search for his one true love, Uni, ‘travels through various mysterious dimensions, witnessing the whole from the beginning to final perishing process of divinity’ – it’s best to view the album as a modern-day retelling of a bodhisattva (or brahma for that matter). The dual albums (which will also be released as together via Anesthetize Productions) are quite something – veering from the sprawling emotionality of Sigur Ros and the gut-wrenching raw theatricality of Scandinavian depressive black metal acts. Either way, it’s captivating.

由受佛教经文启发的乐队虚极的主唱领衔,水树延续了虚极灵性而又动荡的声音,将其带入blackgaze的领域以在宇宙中找寻宁静之美。围绕一个找寻他挚爱Uni的虚构人物,”穿越各种神秘的维度,见证了神性从开始到最后消亡的整个过程。”最好把这张专辑看作是现代人对菩萨(或梵天)的重述。这两张专辑(将通过Anesthetize Productions一起发行)相当不从——从Sigur Ros的铺陈情感和斯堪的纳维亚抑郁黑金属令人痛心的原始戏剧性中走出来。无论哪种方式,都很吸引人。

Tation 天聲樂隊 – 2020

Looking to make sure 2020 isn’t forgotten so easily, Qinghai-based instrumental rock troupe Tation, known for their exploratory sound that blends in Chinese folk and experimental music into the bedrock of post rock, name their latest EP after our past year of reckoning. Fusing into their music this time around are recordings of the pandemic, the sermons of John Donne (For Whom the Bell Tolls), poet Baiya (The Last Person to Leave Turns Off The Light), and the sutra chants of Tibetan monk Nyiten Samwui. Aggressive, urgent, and impassioned, it’s unlike anything the band has done, pushing their song into unknown territory in hopes of putting ‘all these past moments in memory forever’.

来自青海的器乐摇滚乐队天聲以探索性的声音著称,他们将中国民谣和实验音乐融入到后摇的基石中,为了确保2020年不被遗忘,他们最新的EP以去年的年份命名。这次他们的音乐中融合了有关流行病的录音、约翰-多恩的布道(《钟声为谁而鸣》)、诗人白娅(《最后一个离开的人关了灯》)和西藏僧人尼天-桑威的诵经声。咄咄逼人、急迫而又慷慨激昂,与乐队以往的任何作品都不同,他们将歌曲推向未知的领域,希望将 “所有这些过去的时刻永远留在记忆中”。

An Empty City 空城樂隊 – Monoliths

Guangzhou goes hard with the new release from metalcore band An Empty City whose latest Monoliths kicks off in third gear and doesn’t let off on the gas throughout its ten tracks. Guitar riffs that tear through your psyche, bone-curling vocals that don’t hold back, and production that’s richly detailed in its abrasiveness yet never distracting, it’s metalcore done right. While flickering elements of progressive metal, post-hardcore and electronica keep the tracks on the edge of a knife, it’s the band’s steadfast pursuit of bone-crushing melodies that helps them endure.

广州金属核乐队An Empty City的新作《Monoliths》以三档速度开场,并在十首歌曲中没有松懈。撕破你心灵的吉他,毫不退缩的骨感人声,以及丰富细腻的制作,这就是金属核的正确处理方法。前卫金属、后硬核和电子乐的元素在其中闪烁不定,让歌曲处于刀锋之上,而乐队对骨感旋律的坚定追求帮助他们经久不衰。

Pool of Light 光淵 – Reclusion

Pool of Light, the Russian and Shenyang zen-like master – a one-man, multi-instrumentalist who utilizes an arsenal of components to paint in his metaphysical ambient soundscapes returns with his latest Reclusion. Focusing on space and minimalist textures, it finds the artist restraining himself ever so slightly, only using electric guitar and very few additional vocals whilst recording pretty much directly from the amp. Nevertheless, Pool of Light is able once again to engulf listeners into his world, throwing us knee-deep into a vast body of water, floating through and over rays of light which jettison out from the surface like bamboo shards.

Pool of Light,这位俄罗斯和沈阳的禅宗大师——一个多乐器演奏家,善于利用一系列的部件来描绘他形而上的氛围音景,带着他最新的《Reclusion》回归。他专注于空间和极简主义的质感,这张专辑中,艺术家稍稍克制了自己,只使用电吉他和极少的人声,并且几乎是直接用amp录音。尽管如此, Pool of Light又一次让听众沉浸在他的世界里,仿佛我们被扔进一个巨大的水体中,漂浮在从竹叶间隙透过的光线中。

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