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〈商品編號:M00813467〉 |
獲得現金積點:3 點 (1點=1元) 說明
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3/4HadBeenEliminated--A year of the aural gauge operation (H.26)
This italian band transpose buzzing pools of insect chatter with rich,swelling drones and movements that gesture toward song.It’s another kind of post rock
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建議售價 $585元 |
一次付清特價 51 折 299 元 |
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商品所在地 台北市 |
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3/4HadBeenEliminated was founded in Bologna, Italy, in 2002. Starting as a trio (guitarist/double bassist Stefano Pilia, turntablist/sound assembler Claudio Rocchetti, sound architect Valerio Tricoli), the drummer Tony Arrabito was added to the line up in 2004.
Their first self titled record (bowindo, 2003) was released after playing a series of live concerts in which the group attention was strongly focused on the performative/theatrical/ecological aspects of the event. Comprised of a large number of electronic and acoustic instruments, the album mirrors the disparate musical influences and aesthetics of the group: live electronics, electroacoustic composition, field recordings, drones...
In the following two years, after exploring and experimenting with self invented recording techniques, 3/4’s modus operandi focused on live interaction between electronic and acoustic instruments within a context in which the studio itself (tape machines, mixers, effects...) and the actual space in which the interaction took place (weird microphoning, feedbacks...) were considered and manipulated as instruments themselves (not by chance 3/4’s are fans of musicians such as This Heat, P16.D4, Todd Rundgren...). In this process, improvisation and group playing were the main issues, whereas 3/4’s first release was more based upon electroacoustic decoupage.
The goal 3/4’s is trying to reach is that of unifying in one moment the three steps of songwriting, recording, and electroacustic post-production. This is done in a brilliant way on their new album, A year of the aural gauge operation, which was recorded in their own studio in Bologna in 2004. It features nine songs composed after live improvisations, all of them quite different in genre, but again 3/4’s aim is to create a psychedelic musical flow, one in which new elements and different styles can be superimposed to enrich and develop the peculiar narrative of the album. 3/4’s generally thinks of it as an opera.
More info: shiftingposition.org
Tracks: 1. Widower, 2. Labour chant, 3. Shifting position, 4. Wave bye bye to the king, 5. Monkey talk, 6. Loop recorder in the patient with heart disease, 7. In every tree a heartache, 8. Fun with nails, 9. As of yore
Review:
“This supergroup among the new wave of Italian experimenters put out one of my favorite records of 2004 and returned in late 2005 with another favorite. Members Valerio Tricoli, Claudio Rocchetti, and Stefano Pilia represent some of the most mystical, lyrical music I’ve heard come out of Italy or anywhere in some time. 3/4, their collaborative group, now with percussionist Tony Arrabito, make brilliantly inviting and adaptable music mixing melancholy chamber acoustics, ambient improvised textures, and woven electronic and mechanical effects.
The sound is a lo-fi trio, languishing in a woody, golden room, half-asleep and wading through brushed textures and sad crescendos, while the fourth cuts into everything with slow slices of field noise, the occasional glitch-pop or little breaking object. In my review of their first record, I talked about the way these interruptions, rather than leading outside, or becoming immediately contrastive presences, instead work at saturating or carving out an existing environment. Incidental sounds pop into existence as guidance for the more conventionally song-like structures or become buried markers for shifts in the mood or momentum of a song, arriving with an arbitrary quickness that is never forced, always magical.
The general, droning quietude of the group’s self-titled debut made the subtlety of their methods more effective than it is on Year, a record more reliant on percussive, “pop” forms but also infinitely more lush in its assemblage of sonic details. Vocals appear for the first time, and the musicians seem more confident in articulating even the smallest, potentially intrusive elements (including shrill alarm sounds and canned screams). All in all, the sound is less veiled, less overcome by Pilia’s exquisite, Lid-ian guitar drones and more comparable to ambience in the natural world: more irregularities and lopsided rhythms, more chatter and clatter.
Recognizable field captures from ocean and woods direct the mood more towards the pastoral than the monolithic, sublime abstractions of the band’s first disc, but Year’s mood is just as hard to isolate and should appeal to many tastes, from post-rock, to jazz, even glossy, symphonic rock or the most austere of experimental or contemporary classical. My most obvious comparison is the recent work of Dean Roberts, with whom several of these Italians have worked, and who likewise embraces the synthetic punctuation of melancholy acoustic sound in the creation of ornate, baroque masses of sound as opposed to ascetic dissolves. Though the out-of-improv feel of most of this disc tends to conjure ethereal imagery, each moment remains a monument to grandeur and presence, in sound, in life.” Andrew Culler, Brainwashed
“A Year of the Aural Gauge Operation is the second album by Italian quartet 3/4HadBeenEliminated. Like recent music from their peers Renato Rinaldi and Giuseppe Ielasi, 3/4HadBeenEliminated transpose buzzing pools of insect chatter with rich, swelling drones and movements that gesture toward song. It’s another kind of ‘post rock’ that’s far removed from the genre’s typical signification. Where previously the term may have evoked slack-wristed, head-nodding fusions of jazz, electronics and rock, groups like 3/4HadBeenEliminated engage in nothing less than the molecularization of rock music, reducing it to a dense, evocative slurry of phantom tones and fleeting, melancholy phrases guaranteed to induce deja vu.
The quartet often disrupts their own compositions, with several pieces dipping abruptly into silence only to gradually recharge on a different plane. The most engaging moments on the album occur when Claudio Rocchetti’s turntables and electronics inject ghostly voices, gritty noise and other incidentals into slowly developing themes. Building edifices of sound that threaten to topple even as they reach a graceful peak, 3/4HadBeenEliminated remind me of This Heat in their concrete approach to rock and improvisation, as they repeatedly let frayed ends disturb the pieces collected on this quietly stunning disc.” Jon Dale, Dusted magazine
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