閃電配音

或許在大多數(shù)人眼中，黑色是最黑暗、最單調(diào)的顏色，而在長(zhǎng)笛演奏家Joce Mienniel眼中，黑色卻是比其他顏色更加明亮的顏色。

或許在大多數(shù)人眼中，黑色是最黑暗、最單調(diào)的顏色，而在長(zhǎng)笛演奏家Joce Mienniel眼中，黑色卻是比其他顏色更加明亮的顏色。他將這樣的理念應(yīng)用到專輯《TILT》之中，在他看來(lái)，這張專輯中的音樂(lè)就如同是對(duì)于黑色的多重探索，并通過(guò)這樣的探索將其變成萬(wàn)花筒般絢爛多彩的藝術(shù)品。

Maybe most of people think that black is the most dark and humdrum color in the world, but in Joce Mienniel's mind, black a greater brightness than in any other color. He put such concept into the album TILT and he believes the music's explorations of the various shades of black open his art to a kaleidoscope quality of the TILT project.

關(guān)于Joce Mienniel對(duì)待黑色的看法，源自于蓬皮杜藝術(shù)中心舉辦的一次展覽，其中展出了法國(guó)著名畫(huà)家Pierre Soulages的一些作品。Pierre Soulages被稱作是“黑色的畫(huà)家”，他認(rèn)為，當(dāng)光線反射到黑色上時(shí)會(huì)發(fā)生一些轉(zhuǎn)變。他將光線也視為是自我藝術(shù)創(chuàng)作的一個(gè)材料，Pierre Soulages在畫(huà)作的黑色表明添加了一些經(jīng)過(guò)處理的條紋圖案令畫(huà)作可以反射光線，這使得黑色從黑暗之中突顯出來(lái)并變得更加明亮，成為一種閃閃發(fā)光的顏色。

The idea towards black of Joce Mienniel is inpired by an exhibition held by Centre Georges Pompidou in 2010. It exhibited some art pieces of the French famous painter Pierre Soulages. Pierre Soulages is referred to the painter of black and he thinks when light is reflected on black, it transforms and transmute it. He sees light as a work material and striations of the black surface of his paintings enable him to reflect light, allowing the black to come out of darkness and into brightness, thus becoming a luminous color. 

Pierre Soulages與他的畫(huà)作《Outrenoir》（超越黑色）

而另一個(gè)給予專輯《TILT》啟發(fā)的靈感來(lái)自于著名作家Cormac McCarthy的小說(shuō)《長(zhǎng)路》。Joce Mienniel選擇用這部小說(shuō)中的一句話來(lái)代表這張專輯：他從深夜中醒來(lái)，發(fā)現(xiàn)黑暗遮蓋了萬(wàn)物，難以穿透。那黑暗甚至?xí)虃愕亩?/span>。（The blackness he woke to on those nights was sightless and impenetrable. A blackness to hurt your ears with listening.）而閱讀過(guò)這本小說(shuō)的人們，一定能從《TILT》這張專輯中獲得共鳴：世界末日之時(shí)，文明沉睡，大都會(huì)被永久性的毀滅并埋葬了起來(lái)。

Another inspiration of the album TILM is from the famous writer Cormac McCarthy's noval The Road. Joce Mienniel extracts a quote from the novel to represent this album: The blackness he woke to on those nights was slightless and impenetrable. A blackness to hurt your ears with listening. 

        Cormac McCarthy的小說(shuō)《長(zhǎng)路》（The Road）

在這張專輯中，TILT試圖來(lái)傳達(dá)城市聲音的質(zhì)感。樂(lè)曲被分成了三個(gè)部分：開(kāi)場(chǎng)曲，三部組曲（城市之聲、遠(yuǎn)離海岸的霓虹都市、城市之下的花朵）以及結(jié)束曲。我們仿佛聞到了城市空氣中不同金屬物質(zhì)、化學(xué)元素甚至土地的味道；我們仿佛穿過(guò)了那些令人厭惡的街區(qū)，體會(huì)到鞋底被道路上炙熱的瀝青所黏住的感覺(jué)。專輯《TILT》中的音色和質(zhì)感圖通電影鏡頭一般，將你拽入到它所描述的城市之中。

TILT trys to convey the texture of the city sound with the record. It consists of an opening, three suits (Le son des villes, Neon Metropolis Offshore and A Flower from the City Beneath) and the epilogue. We breath atmospheres of metel, chemical and telluric; we across bad neiborhoods—the soles sticking on the hot asphalt. The timbre and texture of this record just like the cinematography and drag you into the city it describes.

Joce Mienniel這樣描述《TILT》這張專輯：“這張專輯中音樂(lè)的節(jié)奏都很慢，就如同心跳的節(jié)奏一般。它是一種很前衛(wèi)的音樂(lè)，帶給人們一種看電影般的享受。有時(shí)會(huì)偏搖滾樂(lè)一些，有時(shí)又會(huì)偏極簡(jiǎn)風(fēng)格一些，這樣的音樂(lè)會(huì)給聽(tīng)眾留下一些想象的空間。”而聆聽(tīng)這幢專輯就好像是體驗(yàn)一段音樂(lè)旅程，隨著那令人窒息的節(jié)奏穿越多不同的城市，感受城市中空曠的寧?kù)o。

Joce Mienniel presents the album as 'a very slow music, close to heartbeat. It is a progressive music, exploring cinematographic terrains. Sometimes more rock, sometimes more minimalist. It is above all a music that leaves room for imagination.' Listen to the music of TILT is to embark on a musical journey, arcossing cities with breathtaking rhythms and large expanse of calm.

這張專輯的主題與城市有關(guān)，樂(lè)隊(duì)中的成員運(yùn)用手中的樂(lè)器來(lái)呈現(xiàn)出有關(guān)城市的質(zhì)感。例如在《城市之聲》（Le son des Villes）這部組曲中，Vincent Lafont所彈奏的電氣鋼琴創(chuàng)造出那種鞋底被烤熱的瀝青所黏住的氛圍，以此來(lái)體現(xiàn)“鋰”的特質(zhì)（《城市之聲組曲第二首為《鋰》）；而在《城市之下的花朵》（A Flower from the City Beneath）這部組曲中，吉他手Guillaume Magne通過(guò)精湛的演奏技藝，將《橙色流星》（Orange Meteor）抽象般的碎片感體現(xiàn)了出來(lái)；鼓手Sebastien Brun則通過(guò)強(qiáng)勁有力的鼓聲將城市的感覺(jué)同城市的輪廓鏈接了起來(lái)，使音樂(lè)中的“城市感”更具象化。

The theme of this album is related to the city and members in the band use their instruments to present the texture of the city. For example, in the suit Le son des Villes, Vincent Lafont plays Fender Rhodes to create the torried ambient of his tarmac that heats and sticks to the soles, when walking in an atmosphere saturated with 'Lithium'; guitarist Guillaume Magne use his techniques to illustrate the more abstract fragments of Orange Meteor from the suit A Flower from the City Beneath; the heavy drumming of drummer Sebastien Brun connects the urban sense marries the contours of the cities.

TILT希望這張專輯能夠讓聽(tīng)眾們感受到關(guān)于黑色不同的一面，用心傾聽(tīng)，并沉浸其中，從而發(fā)現(xiàn)“黑色”是一種不同尋常的力量。而這正如TILT的音樂(lè)一般，擁有著無(wú)限的可能性，在經(jīng)過(guò)一定的探索之后，會(huì)展現(xiàn)出比其他顏色更明亮的亮度。

The band TILT hopes the record could gives a different way of feeling blackness, to listen to it, to immerse itself in it, which will find that black is a singular force. It is just like TILT's music that reveals an infinity of details to the point of uncovering greater brightness than in any other colors.

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