2014年十大音樂專輯盤點(diǎn)

Nate Chinen’s Top Albums of 2014, With Beyoncé, Fred Hersch Trio and More

2014年十大音樂專輯盤點(diǎn)

1. Beyoncé “Beyoncé” (Parkwood Entertainment/Columbia) An ambush that landed after last year’s tabulations, Beyoncé's tour de force — a lustrous showcase of soulful dominion, sleek production, sensual abandon and feminist agency, not always in that order — kept its relevance during a long year swollen with distractions. The singing, like the attitude, is phenomenally assured yet full of nuance; the message is complicated but clear. It’s high-wire pop that refuses to pander.

1. 碧昂斯(Beyoncé)，《碧昂斯》，Parkwood Entertainment/Columbia。這張專輯是繼去年的平淡后的一次突擊，是碧昂斯的力作，它光彩奪目地展示了充滿情感的統(tǒng)治力、精良的制作、欲望的放縱與女性主義的力量(不一定是按這個(gè)順序)，在漫長而充滿眾多娛樂的一年里一直令人關(guān)注。她的歌唱與她的態(tài)度一樣，極為自信而又充滿細(xì)節(jié);她所傳達(dá)的信息復(fù)雜而又清晰。這是高端的流行樂，拒絕曲意逢迎。

2. David Virelles “Mbókò” (ECM) The brilliant young pianist David Virelles continues his interrogation of Afro-Cuban culture and ritual with methodical cool but also an openness of spirit. With Román Díaz thrumming a percussive heartbeat, this intoxicating suite resonates with implications both ancient and state-of-the-art.

2. 大衛(wèi)·維勒萊斯(David Virelles)，《姆波克》(Mbókò)，ECM。才華橫溢的年輕鋼琴手大衛(wèi)·維勒萊斯繼續(xù)著對非洲-古巴文化與儀式的深入研究，帶著有條不紊的酷意與精神上的開放性。羅曼·迪亞茲(Román Díaz)擔(dān)任打擊樂手，這張迷人的組曲有著既古典又現(xiàn)代的深刻內(nèi)涵。

3. Dan Weiss “Fourteen” (Pi Recordings) There’s so much in “Fourteen,” the album-length composition by the drummer Dan Weiss: meticulous chamber maneuvers; avant-garde yowling; wordless vocals of new-music and northern Indian pedigree. More impressive than the expansive frame of reference is the fact that Mr. Weiss, marshaling about a dozen of his peers, spins it all into a flowing fabric.

3. 丹·韋斯(Dan Weiss)，《14》，Pi Recordings。《14》的內(nèi)容如此豐富，整張專輯的作曲由鼓手丹·韋斯一手包辦：細(xì)節(jié)豐富的室內(nèi)樂，前衛(wèi)的嘯叫，新音樂無詞人聲與北印度音樂。相比這個(gè)宏大的音樂參照系，更令人印象深刻的是，韋斯集結(jié)了12名同行樂手，把所有音樂元素融匯為流暢的整體。

4. Mark Turner Quartet “Lathe of Heaven” (ECM) On his first proper album as a leader in 13 years, the tenor saxophonist Mark Turner favors slithery interplay with the trumpeter Avishai Cohen, and finds new purpose in post-bop protocols. There’s dry intrigue in his compositions, and supple exactitude in his rhythm team: Joe Martin on bass, Marcus Gilmore on drums.

4. 馬克·特納四重奏(Mark Turner Quartet)，《天堂里的車床》(Lathe of Heaven)， ECM。這是次中音薩克斯手馬克·特納13年來第一次以領(lǐng)隊(duì)身份推出專輯，他喜歡同小號手阿維沙伊·科恩(Avishai Cohen)奏出流暢的互動(dòng)，在后波普規(guī)范中發(fā)現(xiàn)全新意義。他的作曲中有純粹的神秘，由喬伊·馬丁(Joe Martin)擔(dān)任貝斯手，馬庫斯·基爾默(Marcus Gilmore)擔(dān)任鼓手的節(jié)奏組亦是一絲不茍。

5. Fred Hersch Trio “Floating” (Palmetto) The articulate grace of Fred Hersch’s current piano trio, with the bassist John Hébert and the drummer Eric McPherson, finds potent expression on an album structured like a nightclub set, with a few retooled standards mixed in with sturdy, emotionally transparent original songs.

5. 弗萊德·赫什三人組(Fred Hersch Trio)，《漂浮》(Floating)， Palmetto。赫什目前的鋼琴三人組由約翰·艾伯特(John Hébert)擔(dān)任貝斯，埃里克·麥克菲森(Eric McPherson)擔(dān)任鼓手，他們有著精確的優(yōu)雅。這張專輯的結(jié)構(gòu)如同一場夜間俱樂部演出，包括若干重新編配的標(biāo)準(zhǔn)曲，以及幾首強(qiáng)勁而充滿情感的原創(chuàng)曲，有著強(qiáng)大的表現(xiàn)力。

6. Miranda Lambert “Platinum” (RCA Nashville) Ms. Lambert went from plucky upstart to glittery country royalty in next to no time, but with “Platinum,” her best album, she walks that line with breezy authority. By turns sentimental and profane, with an ideal ratio of gloss to grit, it’s a reminder of her irreducible strengths, and a dare to anyone who’d undervalue them.

6. 米蘭達(dá)·蘭伯特(Miranda Lambert)，《白金》(Platinum)，RCA Nashville。蘭伯特很快從堅(jiān)強(qiáng)的新貴蛻變?yōu)楣饷⑺纳涞泥l(xiāng)村樂貴族，這張《白金》是她最好的專輯，她帶著輕松的權(quán)威之感逾越了界限。專輯中傷感與世俗的情緒交替出現(xiàn)，修飾和粗糲的比例恰到好處，這張專輯讓人們明白她有著強(qiáng)大的力量，向任何低估她實(shí)力的人發(fā)出挑戰(zhàn)。

7. Flying Lotus “You’re Dead” (Warp) The new fusion makes no apologies for the old fusion, just a series of upgrades. As a producer, Flying Lotus values continuity as much as disruption, hazy beauty as well as jump-cut clamor. His suitelike reflection on death leaves room for irreverent wit — and, on “Never Catch Me,” one of the year’s best verses by Kendrick Lamar.

7. “飛翔蓮花”(Flying Lotus)，《你死了》(You’re Dead)， Warp。新融合樂絕不會對舊融合樂說抱歉，這只是升級而已。身為制作人的“飛翔蓮花”既注重延續(xù)性，也注重破壞、模糊之美與跳躍剪輯的喧鬧。他對死亡的組曲式沉思為不虔敬的智慧留出空間，《永遠(yuǎn)不能抓住我》(Never Catch Me)這首歌的歌詞由肯德里克·拉瑪(Kendrick Lamar)創(chuàng)作，堪稱年度最佳。

8. Sturgill Simpson “Metamodern Sounds in Country Music” (High Top Mountain) A throwback progressive hunkered down with a whip-smart band: country music has seen this before. But on his breakthrough second album, Sturgill Simpson made it a pliable trademark, grounded at every turn by his winning, seen-it-all baritone.

8. 斯特吉爾·辛普森(Sturgill Simpson)，《鄉(xiāng)村音樂的大現(xiàn)代之聲》(Matamodern Sound in Country Music)，High Top Mountain。一支極為聰敏的樂隊(duì)做出復(fù)古的改革：鄉(xiāng)村樂中曾經(jīng)發(fā)生過這樣的事。但在斯特吉爾·辛普森突破性的第二張專輯中，他把這一點(diǎn)變成了可適應(yīng)環(huán)境的標(biāo)志，就建立在他那動(dòng)人而通透的男中音之上。

9. Ambrose Akinmusire “the imagined savior is far easier to paint” (Blue Note) The trumpeter Ambrose Akinmusire imbued his second Blue Note album with the searching, genre-fluid sound of today, enlisting singer-singers and a string quartet. His social commentary feels even more urgent and stinging now than it did when the album was released.

9. 安布羅斯·阿欽摩西爾(Ambrose Akinmusire)，《想像中的救世主更容易描繪》(the imagined savior is far easier to paint)，Blue Note。小號手安布羅斯·阿欽摩西爾為自己在Blue Note公司發(fā)行的第二張專輯注入了類型不固定，富于探索精神的今日之聲，有許多歌手和一支弦樂四重奏組合參與。和這張專輯剛發(fā)行的時(shí)候相比，如今的他有了更多評論社會的迫切與譏諷時(shí)局的精神。

10. Run the Jewels “Run the Jewels 2” (Mass Appeal) Speaking of urgent and stinging, Killer Mike and El-P, veteran underground rappers from different scenes, found firm traction on their second round as Run the Jewels. Their flow is strong and their focus is furious on an album that calls out power structures but lets nobody off the hook.

10. “移動(dòng)珠寶”(Run the Jewels)，《移動(dòng)珠寶2》，Mass Appeal。說到迫切和譏諷，殺手麥克(Killer Mike)和EL-P都是地下說唱界不同圈子里的資深人士了，他們組成的“移動(dòng)珠寶”在第二張專輯里找到了堅(jiān)實(shí)的互相吸引。他們的說唱強(qiáng)大有力，關(guān)注點(diǎn)狂熱喧鬧，專輯抨擊沒有讓任何人擺脫困境的權(quán)力結(jié)構(gòu)。

TOP SONGS

最佳歌曲：

Beyoncé featuring Nicki Minaj “Flawless (Remix)” (Parkwood/Columbia)

碧昂斯與妮琪·米娜(Nicki Minaj)，《完美》(Flawless, Remix)，Parkwood/Columbia

FKA twigs “Two Weeks” (Young Turks)

“FKA細(xì)枝”(FKA twigs)，《兩星期》(Two Weeks)，Young Turks

Beck “Say Goodbye” (Capitol)

貝克(Beck)，《說再見》(Say Goodbye)， Capito

Tinashe featuring Devonté Hynes “Bet” (RCA)

狄娜莎(Tinashe)與德文戴·西尼斯(Devonté Hynes)，《打賭》(Bet)， RCA

St. Vincent “Digital Witness” (Loma Vista/Republic)

圣文森特(St. Vincent)，《數(shù)碼證人》(Digital Witness)， Loma Vista/Republic

Sylvan Esso “Coffee” (Partisan)

西爾萬·埃索(Sylvan Esso)，《咖啡》(Coffee)， Partisan

Miranda Lambert “Bathroom Sink” (RCA Nashville)

米蘭達(dá)·蘭伯特，《浴室水槽》(Bathroom Sink)，RCA Nashville

Neneh Cherry “Blank Project” (Smalltown Supersound)

妮妮·切利(Neneh Cherry)，《空白計(jì)劃》(Blank Project)， Smalltown Supersound

Taylor Swift “Blank Space” (Big Machine)

泰勒·斯威夫特(Taylor Swift)，《空白空間》(Blank Space)， Big Machine

Usher “Good Kisser” (RCA)

亞瑟小子(Usher)，《擅長接吻的人》(Good Kisser)，RCA