Bowery Electric

目前簽約于Beggars廠牌下的美國(guó)樂隊(duì)Bowery Electric主要由兩位成員組成：Lawrence Chandler負(fù)責(zé)編程,吉他,鍵盤,人聲；Martha Schwendener則在負(fù)責(zé)鍵盤,人聲之外還不時(shí)以低沉的Bass聲加入對(duì)整個(gè)音樂作品的建構(gòu)；加上鼓的編排，乍一看這更象是一個(gè)Rock/Post Rock樂隊(duì)的結(jié)構(gòu)，而事實(shí)上這個(gè)樂隊(duì)的音樂類型也確實(shí)是一直游離在Post Rock/Trip Hop/Shoegazing三者之間，很難直接用Trip Hop去定義他們的作品風(fēng)格。更多的時(shí)候，Bowery Electric的唱片名字并不是被羅列在Trip Hop名單里，而是出現(xiàn)在Post Rock的大本營(yíng)里。
Bowery Electric的作品中往往充滿了令人暈眩和扭曲的吉他噪音墻，Chandler玩出的吉他技巧和水準(zhǔn)絕對(duì)不遜色于Cocteau Twins或著My Bloody Valentine兩支樂隊(duì)的吉他手，以致于許多媒體都不約而同地把他們的吉他音色要和My Bloody Valentine相比較，當(dāng)然這種比較顯然是沒意義的。
而他們的女聲部分的Schwendener，顯然早已經(jīng)不再象一些樂隊(duì)那樣只是純粹地甘于擔(dān)任女主唱，而是把自己的嗓音做為一個(gè)輔助的樂器疊加在吉他，貝司，鼓，鍵盤等音色之上，所以你更多的時(shí)候?qū)⒙牭降氖撬：牡袜约盁o(wú)調(diào)性的哼唱。此外她還拿起了Bass，以自己低沉詭異的Bass聲和Chandler的扭曲吉他噪音交相輝映。
至于Michael Johngren或Wayne Magruder的鼓擊聲則類似Trip Hop那般緩慢陰暗的鼓機(jī)節(jié)拍，很好地襯托出他們音樂的清冷孤寂的特色。
聽Bowery Electric的音樂總要讓我想起國(guó)內(nèi)最近幾年涌現(xiàn)出來(lái)的一些類似風(fēng)格的樂隊(duì)：星期三的旅行，與非門。也是這般緩慢寥落的的鼓擊聲和充滿憂傷又不失冷靜的女聲。
此外，Bowery Electric的還有一個(gè)大膽的舉措就是他們的男女雙聲部，一高一底，但兩人的和聲都是那般的憂傷而冷靜。
Manhattan-based drone-rock duo Bowery Electric comprised vocalist/guitarist Lawrence Chandler, a former protege of minimalist composer LaMonte Young, and vocalist/bassist Martha Schwendener. Originally a three-piece rounded out by a series of drummers, Bowery Electric bowed in 1994 with a double seven-inch on their self-owned Hi-Fidelity Recordings which helped land them on the indie label Kranky, which issued their self-titled debut LP in 1995. With 1996s Beat, the duos swirling, chaotic sound began to incorporate elements of the electronica movement; a subsequent series of 12-inch remixes by the likes of Disjecta, CHASM and Immersion further solidified their new affilation with electronic music, as did 1997s remix collection Vertigo. The long-awaited Lushlife finally appeared in early 2000.