One Day (2Cd Limited Edition)

〔夜幕低垂．温柔美学系列〕 麦斯米兰的音乐不仅冰封了属于北国雪地的凛冽寂寥，表面 哀伤、剔透而纤弱的美好乐音，事实上蕴含着对爱情、对生命的热切渴望与强大能量，随时都会爆发 或许，你自以为已经认识了麦斯米兰。 那个阴郁绝望地吟唱着 "Dying" 的麦斯米兰；那个充满孤寂、却又以 "Kate Moss" 渴求着至高无上爱情的麦斯米兰；那个温柔低语、想用 "Lady Sleep" 抓住幸福最纤细的羽尾尖的麦斯米兰…… 但是，麦斯米兰始终在变。从早期的《 Lady Sleep 》、《 Infinite Love Songs 》、《 Rose 》，一直到《 I’ll Be A Virgin, I’ll Be A Mountain 》，麦斯米兰由一开始的绝对剔透纤细、脆弱而易碎，却也不断尝试着注入更为浓郁的色彩与力量、在音乐方面做更复杂的尝试，而一以贯之的，却是那对生命的各 种层面－－包括光明面的幸福与爱、也包括了黑暗面的死亡与孤寂－－的澎湃热情，闪耀泽披在每一颗扣人心弦的音符上。 然后就是这张《 One Day 》，面对你的，是个你自以为已经很熟悉－－其实也依然熟悉－－但又让你忍不住捂住下唇，轻轻发出无声惊叹的麦斯米兰。 为魏如萱《甜蜜生活》专辑而创作的 "The Space That You’re In"，由麦斯本人诠释，流露出的情感自然深刻；而 "Misery" 强劲渲染的电吉他开场，是麦斯米兰有史以来，情感能量最强大的英式摇滚金曲，绝对媲美Raidohead与 Coldplay。接下来的一首作品"Miss Underwater (Hydrous Love Songs)"，以如春天第一道微风轻拂过结冰水面般的钢琴，轻柔吟唱着贴近灵魂细颤之处的一份深刻挚爱。 "The Poison Called Love (Home In A Town That Has Sunk)" 则让人不禁回想起早期 The Smiths 中 Morrissey 的自怜与慵懒，一种耽溺在私密世界中的情感怀旧，也舒缓了聆听者燥动的心；偏轻快的 "Summerwaste" 也有着让人耳目一新的感受，"This House Called Love" 或许和最早唱出 "House of Love" 的 The Doors没什么关系，但麦斯早期那脆弱薄透如晨雾的嗓音，在此又氤氲入了每一颗易感的心，美丽如水晶玻璃的钢琴、弦乐，构筑出的梦幻景致，令人无论如何 也不愿转移目光。 "The End of Longing" 也以轻柔优雅的风韵，唱出一种成熟豁达、看尽世事沧桑的优雅姿态。接下来的 "Letters From You" 也是一贯的纤美感伤风情，但如曼陀铃般汩汩涓流的吉他琶音、曲末巧妙的转调运用，却也多了几许明亮的色彩点缀其中。这样的情绪延伸到 "Wind Down"，也是一首蕴含感伤、却也不失满怀希望的情歌；流畅易入耳的配乐，宣示着麦斯贴近人心的企图，以及他想传达的，是一种何等单纯且直切入人心的感动。 "All These Cradles’ Blankets Will Never Veil My Whole Substance (Borderline)" 的麦斯，展现了浓醇的嗓音，铮鏦的铁琴声与优雅的弦乐交织，摆荡交织的眩目美丽。专辑标题曲 "One Day" 也以带着体贴温度的流畅旋律，感性细腻的唱腔，让人嘴角泛起一丝会心的微笑。 的确，近年来逐渐在全球打开知名度的麦斯米兰，音乐中已经不仅冰封了那属于北国雪地的凛冽寂寥，也尝试着以更贴心的暖度，融化世界各地所有歌迷心中的阴郁 与自艾；表面哀伤、剔透而纤弱的美好乐音，事实上蕴含着对爱情、对生命的热切渴望与强大能量，随时都会爆发－－只等你按下 Play，一起，破茧而出。 (by 博客来) ------------------------------------------------------------------ Music so sweet it may save lives if played at the right moment. Maximilian Hecker has been taking detours over various continents to hone his pop-production- and –songwriting-craft. It is quite clear where he is headed towards from the first song on his fifth album. “The space that you’re in” is a bittersweet lovesong, with all the ingredients you would wish for: a string section mixed with various other classical instrument, a chorus melody so sweet and melancholic it takes you away on romantic dreamtravels and a production so full and wide that you start looking for a word that transcribes cinemascope into audio. Song two on the album, aptly called “Misery” though it is somewhat upbeat with its electric guitar and heavy drums, shows that he is now ready to take on the pop-championship. I am not talking about mediocre mainstream pop à la Coldplay but the full range of pop king: Richard Ashcroft. I, at least, haven’t heard pop-visions as grande and as uninhibited since the first two solo albums by Ashcroft. Hecker takes a different route, as he always would. Using weary-eyed, submerged singing and even those awful Seventies-tv-series glockenspiel sounds on “Miss Underwater”, imitates late Eighties melodies on “Summerwaste” (A-Ha or Nik Kershaw, I cannot yet decide) and does other unspeakable things during the course of this album. In a nutshell, he’ll use any kind of sound, even a steel guitar, if it fits. And last but definitely not least his lyrics seem to become more and more abstract – so as not to call them weird – with time. He likes to remain in the dreamy, melancholic, sad pace of late Sunday afternoon on top. But the most important thing, the in more than one way magical thing is, that it works. Even with an old noisehead and ex-punkrocker like me, his pop music hits a button and leaves me wide open and welcome. Maybe it is all about my suppressed memories of growing up in the Eighties, who will ever know, but at the moment I don’t care. I just want to close my eyes, imagine I am still a teenager and all the problems of the world are loaded on my shoulders, and have Hecker help me softly sweep them away one by one. I know, that usually I cannot be easily guided into saying something nice about the Eighties (what is nice about neon-colours, AIDS and the fear of the atomic bomb?) but if you put me in the right mood I may admit about some things. And Hecker is able to put me in just the mood to mention a few things that I liked about the decade I lived through my puberty in, like pop music. After beat and rock’n’roll and disco and funk had vanished the time was right for synthie-pop and elusive melodies again. Melodies that of course had their roots in the two or three decades that preceded them, and also the whole pop circuit was sidelined by heavy metal on the one side and industrial on the other side. Everybody seems to be all revved up about Lloyd Cole these days, for some reason, and “One Day” might be one of them. So, after all and taking all of the above into account, Hecker might be headed into a completely different direction and is straight on the way to become the James Taylor of the digital age. Nothing bad about that, actually, I like the first Taylor-albums as much as anybody (and also Carole King, Rickie Lee Jones, Joni Mitchell or Bill Withers, to be honest) and after all he has penned a few songs that will stay in the canon of modern songwriting for ever without ever becoming kitschy or pathetic. Which in itself is basically more than 99.9 % of all songwriters of the last five years have done. I cannot say which of the songs on “One Day”, if any, will ever reach that status, because that is for the next decades to show. (by Cracked webzine) ------------------------------------------------------------------ Bass Guitar – Sebastian Vogel Drums – Snorre Schwarz Electric Guitar – Johannes Feige Engineer [Assistant Engineer] – Henning Strandt Mastered By – Darius van Helfteren Producer – Guy Sternberg, Maximilian Hecker Written-By – Maximilian Hecker