David Holmes

小簡(jiǎn)介
1969年的情人節(jié),「愛爾蘭DJ傳奇」David Holmes/大衛(wèi)霍姆斯的誕生昭示了新世紀(jì)的到來,電子音樂與古典音樂之間的界線將因他而逐漸模糊…。 15歲開始學(xué)習(xí)DJ混音、20歲之前是個(gè)發(fā)型設(shè)計(jì)師,只有這樣生活,才可以讓他跟朋友們一直聽音樂下去。
’95年的大衛(wèi)僅以一只在英國(guó)發(fā)行的《Let’s Slash The Seats..This Film’s Crap》驚艷四座、并被美國(guó)影壇大老丹尼狄維托欽點(diǎn),請(qǐng)他為所屬之Jersey電影公司’97年發(fā)表的年度大戲「戰(zhàn)略高手/Out Of Sight(喬治克隆尼、珍妮佛洛佩茲主演)」之主題曲獻(xiàn)藝,＜Let’s Get Killed＞單曲將全戲氣氛營(yíng)造與感覺氛圍加分,首度于美國(guó)發(fā)行之同名專輯亦獲娛樂周刊A-佳評(píng)并選為同年「年度十大最佳專輯之一」,足見傳媒對(duì)他的看好與推薦。
大衛(wèi)所做的音樂深具電影感,除拿手的Ambient、Drum’N’Bass、Trip-hop外,爵士、放克、英式節(jié)奏藍(lán)調(diào)、拉丁、古典、搖擺(swing)、甚至龐克都是他把玩掌間的音樂元素,Trip-hop墮落天使Tricky’95年首輯《Maxinquaye》中縹緲細(xì)致令人魂縈夢(mèng)牽的優(yōu)聲女伶Martina此番亦為＜Outrun＞、＜Zero Tolerance＞獻(xiàn)聲。仿若音樂版的「厄夜叢林」- ＜Bad Thing＞則有90年代初Matador廠牌旗下實(shí)驗(yàn)團(tuán)體The Blues Explosion吉他手兼主唱Jon Spencer助陣：間歇浮現(xiàn)的低沉男聲與挑逗性的女聲背后似乎隱含了莫名的不安鬼祟與詭譎、＜Sick City＞中Drum’N’Bass與Bobby Gillespie歇斯底里的嗓音交揉,都市叢林的速度疾馳拉鋸戰(zhàn)迅速開展！
by John Bush
David Holmes is the among the best in a growing cadre of invisible-soundtrack producers inspired by the audio verité of classic film composers — Lalo Schifrin, John Barry, Ennio Morricone — as well as the usual stable of dancefloor innovators and a large cast of jazz/soul pioneers to boot. Similar to the work of Howie B, Barry Adamson, and Portisheads Geoff Barrow, Holmes productions are appropriately spacious and theatrical, though usually focused on future club consumption as well. His first album, hotly tipped in England, rose the stakes significantly for his second. Lets Get Killed hardly disappointed, gaining critical and artistic success given the constraints of instrumental dance music. The increased exposure even helped him hire in on Hollywoods bankroll to provide the score for the 1998 feature film Out of Sight.
Born in Belfast the youngest of ten children, Holmes listened to punk rock as a child and began DJing at the age of 15 — his sets at pubs and clubs around the city during the next few years embraced a range of grooves including soul-jazz, mod rock, Northern soul, and disco. Holmes also worked as an underground concert promoter and wrote a fanzine as well, though he was still just a teenager when the house and techno boom hit Britain in the late 80s. Soon he was integrating the new dance music into his mixing, and his club night Sugar Sweet became the first venue for serious dance music in Northern Ireland. Back-and-forth contact between England and Northern Ireland brought Holmes into contact with leading DJs Andrew Weatherall, Darren Emerson, and Ashley Beedle. After familiarizing himself with the studio, he began recording with Beedle (later of Black Science Orchestra) to produce the single DeNiro (as Disco Evangelists), a sizeable dancefloor hit in 1992. The following year, his Scubadevils project (a collaboration with Dub Federation) appeared on the first volume of the seminal compilation series Trance Europe Express.
That first taste of success brought David Holmes much remixing work during 1993-1994, for Weatheralls Sabres of Paradise, St. Etienne, Therapy?, Fortran 5, Sandals, and Justin Warfield, among others. He later signed to Go! Discs and in 1995 released his debut album, This Films Crap, Lets Slash the Seats. Besides the cinema-terrorist persona evoked in the title, the album featured other ties to the cinema: the single No Mans Land had been written in response to the controversial Guildford 4 film In the Name of the Father. Television director Lynda La Plante ended up using many of the tracks from the album for her series Supply & Demand, and one track was used in the Sean Penn/Michael Douglas film The Game. Holmes first proper soundtrack, the Marc Evans film Resurrection Game, appeared in 1997. The experience inspired Holmes to travel to New York and gather a wealth of urban-jungle environment recordings, compiled and mixed into his second proper album, Lets Get Killed.
He followed with the remix collection Stop Arresting Artists, and in 1998 scored Steven Soderberghs A-list Hollywood feature Out of Sight with a prescient set of groove-funk. (The attention also earned him a place in Entertainment Weeklys list of the Top 100 Creative People in Entertainment.) His single My Mate Paul even featured as the theme music to the Sony Playstation game Psybadek. Essential Mix 98/01 followed later that year, and in 1999 This Films Crap, Lets Slash the Seats was reissued with a bonus disc of rarities and unreleased tracks. Holmes issued his third studio effort, Bow Down to the Exit Sign, in September 2000. One year later, Soderbergh tapped him to produce another feature-film soundtrack, Oceans Eleven, and it pushed a single — Elvis Presleys A Little Less Conversation, as remixed by Junkie XL — into the charts (as well as the top spot in many countries).
Holmes next project was a studio band, the Free Association, introduced on the 2002 mix album Come Get It, I Got It. On the record, Holmes mixed and matched older tracks with new productions from him and his lab-mate, Stephen Hilton. Late that same year, a full album of new tracks (David Holmes Presents the Free Association, which was reissued with a new track order in 2006) followed it onto the racks, and in 2004 Cherrystones: Hidden Charms came out.