by Guest » 2004-12-01 Wed 9:44am
에 오늘 아침에 지인 홈페이지에다 Mansun - Negative 추천한 김에
여기에도 앨범 추천글을....
... mp3 립해서 계정에 올리려 했는데 안 올라가서 음악링크는 없습니다 흑
앨범 전체를 관통하는 컨셉...까진 아니고
자켓을 보면 금방 알 수 있는, 뭔가 중세적..? 인 척하는 판타지 톤의.
트랙과 트랙 사이에 무음 없이 자연스레 이어지는 전개도 꽤나 많죠.
... 그런 건 핑크 플로이드를 못 따라가지만. 으 핑크 플로이드 만세...
가사를 슥 보다 보면 누구 말마따나(누군진 까먹었음) "영국 중산층 청년들이 한 번씩은 품을 만한 생각들"이란 생각이 듭니다.
이 앨범에서 싱글컷된 게 2번트랙 Negative였고
12번트랙 Legacy..는 됐는지 안 됐는지 기억이 잘 안 남. 아무튼 미는 넘버.
개인적인 코멘트지만서도 이 곡을 제가 처음 들은 게 중2때였는데
CBS FM 93.9MHz 델리스파이스의 우리들(밤 1012시 방송, MC 윤준호&김민규)에서 들었던 듯.
..아니면 거기서 제가 보낸 사연 뽑혀서 보내준 BME 씨디에서.
아무튼 그 때 맨선을 듣고 열네살 소녀는 정말 문자 그대로 "가슴이 떨렸"답니다.
폴 드레이퍼의 보컬이 뭐랄까.. 가사에 맞게 좀 시니컬하면서도 묘하게 섹시하죠.
나우누리 브릿동의 여자분들이 스웨이드의 브렛 앤더슨과 함께
맨선의 폴 드레이퍼도 꽤나 사랑했던 걸로 기억합니다.
뭐 보컬만이 아니더라도 사운드 자체가 참.. 재기발랄하달까.
냉소적인 것 같으면서도 클리셰가 없고(!!!) 예상치 못한 카운터 펀치를 먹이는.
... 아는 게 없어서 이런 식으로밖에 설명을 못하겠군요...
랄까 웨이브식 헛소리를 잔뜩 늘어놓는 것보단 차라리 이게 나을 지도.
최근의 맨선은 잘 안 들어서 모르겠지만
아마도 그 '재기 넘치는 사운드'의 절정이 바로 이 Six 앨범이 아닌가 싶어요.
그 전의 회색랜턴의 공격(..Attack of the Grey Lantern) 앨범도 있긴 하지만
뭐 괜찮긴 하지만 아직 좀 약했고... 그 후로 나온 Little Kix였나? 그건 실망했거든요.
I can only disappoint you인가 그 싱글 듣고 바로 "..yer u really do"하며 껐던 기억이.
아 진짜 그 때 플라시보 암시장 앨범도 듣고 실망해서 으.... Kid A 나오고 막...;;;
..그래도 Kid A는 그렇게까지 실망하진 않았었군. 히든트랙이 재밌었지...
제가 산 건 라이센스..여서 해설지가 있는데
이게 또 꽤나 괜찮은 글입니다. 해설지치곤 꽤나요.
글을 쓰거나 하진 않겠습니다. 앨범 사시면 뭐... (.....)
아래는 맨선으로 검색하다 나온 리뷰.
SIX
by
MANSUN
Six appeal
Constantly referred to as the ever-changing men of music, Mansun really haven't altered as much as everyone would have you believe. Sure, early days of stripping vicars and dark Mavises showed a certain naivety and lack of confidence compounded with an unfortunate Britpop influence; but the epic stellar compositions running through Paul Draper's mind like a waterfall have always been there, hinted at by early b-sides and immortal tracks like "Wide Open Space". Now, this LP full of shimmering introspective prog rock works is a natural evolution - and a welcome one. (However, I make no such excuses for their pissed-in-a-fancy-dress-shop costume changes...)
Hardly one song on the LP is simple, opener "Six" being a good example. Starting off with an eerily spellbinding sequence punctuated by ghostly keyboards, it begins conventionally enough. Then, the middle section of the 7-minute opus darts off with the guitars blazing on a different tune and tangent, before running out of breath and lapsing into a dreamier and more sedate pace. Then, recovered, it goes racing off again out of sight, leaving a completely different melody to cope with fading-out duties. And oddly enough, it works - the best multi-faceted track to pop its head above the three-minute thrash barricades since "Paranoid Android".
Other songs take this model and wrap themselves around it too. "Shotgun" starts off punk rock then almost sings itself to sleep with a floating and drawn-out second half, whereas others such as "Cancer" seem to go on all night, directions jutting out seemingly at random. All the while however - even if the end result is a little bit unsatisfying - the parts that make up the whole are well-done and interesting at worst; pricklingly spiky and/or smokily mellow at best.
Others, whilst maintaining the same structure throughout, are just as startlingly original and off-the-wall. "Fall Out" is the most obvious example of this, a gentle duel between Mansun's guitar gymnastics and an orchestrated passage from The Dance Of The Sugarplum Fairy, no less. Willingness to experiment and progress such as this, can only be praised (even though, as here, the result veers dangerously close to pretentious parody - witness the CD cover for even more evidence of this). The same is true of the LP's structure, divided as it is into two parts, complete with interlude. How much more pretentiously prog can you get? "Witness To A Murder (Part Two)" is the answer, a poem narrated by top thesp luvvie and ex-Dr Who Tom Baker, over a musical backing of harpsichord and an operatic duet. No, really.
Not all tracks on "Six" are as ambitious in scope, or as manically over the top in execution. "Negative" is straightforward and top-quality guitar heroics, whilst "Inverse Midas" is a lullaby sung by angels who grew up listening to Duran Duran. "Anti-Everything" is The Beatles "Nowhere Man" in drag, and "Serotonin" is a blast of New Wave/New Romanticism, both of which clock in at less than 3 minutes.
The singles are at the end, both "Legacy" and "Being A Girl" fitting in contextually perfectly, the former's doomed romanticism slotting into the tone like a lego brick, whilst the latter's extension into a 7-plus minute epic seeming the most natural way to end an LP such as this.
"Six" is a funny beast. At turns refreshingly original, at others echoing periods of music and bands best forgotten ("Television" in particular marrying the undesirable sounds of Floyd and Duran Duran together to less than enthralling effect), it is nevertheless always puffed up with ambition, vision and unashamed pretention. Standing to attention and demanding that you listen - whether you love it or hate it matters not a jot to "Six". You do get the impression that the record would have benefitted from a bit tighter creative control however, but as it stands, the record is testament to a band unafraid to experiment and unwilling to stand still. Although it's been done before, it's not been done for a while, and seldom to this degree of quality - so long as Mansun manage to stray away in future from triple concept LPs named after characters from Tolkein novels, we'll be alright.
.... Six appeal이래 아하하하하
