Cindy Lee の新作 | ロキノンには騙されないぞ

ロキノンには騙されないぞ

主に海外音楽雑誌、メディアの評論家たちが高評価をつけている新譜アルバムをチェックしていくblog。日本のインディー興味深い作品も。

Cindy Lee
Diamond Jubilee

 

参考

 

70--92点相当

 

聞き逃し 後追い

 

相変わらず音が汚いのは残るが、

内容的にはさすが。

 

昔風サウンド

 

でも、やはり耳障りw

 

 

 

 

This may be the greatest radio station you’ve ever come across. Unless it’s multiple stations talking over each other, in and out of range. Sounds arrive in strange combinations; nothing is quite exactly the way you remember. Did that classic rock band really have a synth player, and why did they pick a patch that sounds like a mosquito buzzing through a cheap distortion pedal? And those eerie harmonies swirling at the outskirts of that last-dance ballad by some 1960s girl group whose name ends in -elles or -ettes. Did they hire a few heartbroken ghosts who were hanging around the studio as backing vocalists? Or are these fragments of other songs, other signals, surfacing like distant headlights over a hill, then disappearing once more?

Or maybe this is Diamond Jubilee, the sprawling and spectacular new album by Cindy Lee: two hours, 32 songs, each one like a foggy transmission from a rock’n’roll netherworld with its own ghostly canon of beloved hits. Like much of Lee’s past work, its spiritual center is girl group music, reduced to a single girl and reflected through a hall of mirrors. From there, it extends toward the far reaches of the radio dial, and sometimes beyond: the warped classic rock of “Glitz,” the fragmented disco of “Olive Drab,” the sunburnt psychedelia of the title track, the nocturnal synth-pop of “GAYBLEVISION.” “Darling of the Diskoteque” sounds like Tom Waits and Marc Ribot masquerading as Santo and Johnny; “Le Machiniste Fantome” like a cue from some fictional Ennio Morricone score to a film about 9th-century monks. But even at its most idiosyncratic, the music conveys the archetypal yearning of pop. Nearly every song is about a lover who’s gone, and the dream that their loss—the solitary moonlit nights, the resolve to move on, the resignation to wallow forever—might be as romantic as the love itself.

カナダ/カルガリー出身のミュージシャン/SSWの

Patrick Flegel

 

 

 

 

 

 

 

202404推し