Pinô

奥托·阿·托特兰（Otto A Totland）在《Pinô》这张个人专辑中展现了不同于与埃里克·K·斯科德文（Erik K Skodvin）合作的Deaf Center的黑暗氛围。这张专辑的整体情绪远比一般Deaf Center作品要阳光明媚，包含十八首简洁的钢琴曲，挑战了人们对其作品的期待。 在这张43分钟的专辑中，托特兰的音符如最轻柔的耳语，优雅的旋律在曲目中轻轻波动，暂停的安排也显得十分慷慨。这些作品具有强烈的统一性，可以被视为一个大型的十八部分作品，某些曲目之间的过渡在没有索引的情况下甚至可能不被察觉。 托特兰的演奏风格较尼尔斯·弗拉姆（Nils Frahm）更为简约，但在音乐的亲密感方面，两者有着相似之处。他们的音乐使听众感觉与演奏者的距离极近（值得一提的是，《Pinô》的乐器是在Durton Studios由弗拉姆录制、混音和母带处理的）。托特兰的音乐时而令人难以抗拒，专辑的同名曲展现了轻盈的旋律，虽然整体散发出一种忧郁感，但其中也包含了反思性的、梦幻般的、庄重的和调皮的不同情绪。 总体来看，托特兰的独奏作品使他的演奏展现出深思熟虑的光辉，这与他在Deaf Center中的钢琴贡献形成了鲜明对比。 Deaf Centers reputation precedes this solo outing by Otto A Totland, who partners with Erik K Skodvin in the long-admired project, one typically characterized as dark ambient above all else. But anyone expecting unsettling soundscaping from Pinô, the first full-length release by Totland, will assuredly find such expectations challenged, to say the least; instead, the solo release presents eighteen concise piano settings whose overall mood is far sunnier than that of the average Deaf Center production. Throughout the forty-three-minute album, Totlands fluttering notes whisper like the softest of utterances, the most delicate of brushstrokes. Elegant patterns ripple softly, and pauses are generously distributed within a given track. The albums pieces are marked by such a strong degree of unity that without too much difficulty one could regard it as a single, large-scale work of eighteen parts, and in some cases the transitions from one track to the next could go unnoticed in the absence of indexing and the pauses separating the pieces (e.g., the segue from “Seveen” to “Ro To”). Parallels might justifiably be drawn between Totland and Nils Frahm, even if Totlands playing style is more minimal than Frahms; where theyre similar is in the intimate qualities of their music, how up-close to the musicians playing the listener is allowed to feel (in that regard, its telling that Pinôs instrumentals were, in fact, recorded, mixed, and mastered at Durton Studios by none other than Frahm). The action of the piano keys is clearly audible, as is ambient hiss (especially pronounced in “Flomé”), in-studio noise (an errant cough even punctuates “Âust”), and additional real-world sounds, such as the crow caw that pierces the quietude of “Julie.” The ambient haze that blurs the pianos definition in “Aquet” suggests the piece could very well be Totlands homage to Harold Budd, given how much it evokes the sound of the latter. Totlands music is at times irresistibly pretty, a perfect example of which is the gently lilting title track, and though Pinô exudes a general sense of melancholy, its also an album of subtly varying moods, among them ruminative (“Solêr”), dreamy (“Bluss”), stately (“Seveen”), and even playful (“Jonas”); some pieces, such as “North Way,” appear to tell miniature stories, even if ones abstract in nature. In Deaf Center, Totlands piano contributions act as a welcome counterpoint to Skodvins dark soundsculpting. Totlands solo outing, on the other hand, allows his playing to be heard in all its introspective glory.