フォーマット |
LPレコード |
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構成数 |
1 |
国内/輸入 |
輸入 (ヨーロッパ盤) |
パッケージ仕様 |
- |
発売日 |
2016年01月08日 |
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規格品番 |
88875173871 |
レーベル |
|
SKU |
888751738713 |
移り変わるロック・シーンの中で、変化する事を恐れず進化し続けてきた、孤高の存在にして、英国を代表するロック界最重要アーティスト、デヴィッド・ボウイ。2013年、世界中の誰もが驚いた予期せぬ復活劇は「事件」として瞬く間に全世界を駆け巡り、10年振りの新作にしてロック史上最大のカムバック作となった『ザ・ネクスト・デイ』から3年――。デヴィッド・ボウイ、自身69回目の誕生日にあたる2016年1月8日に28枚目のスタジオ・アルバムとなる新作『★』(読み方:ブラックスター)をリリース!前作『The Next Day』は、UKをはじめ世界18ケ国のアルバム・チャ-トで1位、全世界の60ヶ国以上のiTunesチャートでも1位を獲得。その後も、ファッション、音楽、デザイン、演劇、アート、フィルムなど、ボウイの世界観が忠実に表現された大規模な回顧展『David Bowie Is』がイギリスはじめ世界で開催され話題を集めた。音楽活動50年のキャリアを持つデヴィッド・ボウイの魅力に、引き続き世界的な注目が集まっている。時代と共に変化し続けるデヴィッド・ボウイが創造した次なるアート・フォーム(芸術形式)とは? その答えがここにある――。
構成数 | 1枚
合計収録時間 | 00:00:00
It's difficult to separate 2016's Blackstar from The Next Day, the album David Bowie released with little warning in 2013. Arriving after a ten-year drought, The Next Day pulsated with the shock of the new -- as Bowie's first album of new material in a decade, how could it not? -- but ultimately it was grounded in history, something its cover made plain in its remix of Heroes artwork. Blackstar occasionally recalls parts of Bowie's past -- two of its key songs, "Sue (Or in a Season of Crime)" and "'Tis a Pity She Was a Whore," were even aired in 2014 as a supporting single for the Nothing Has Changed compilation (both are revamped for this album) -- but Bowie and producer Tony Visconti are unconcerned with weaving winking postmodern tapestries; now that they've shaken free their creative cobwebs, they're ready to explore. Certainly, the luxurious ten-minute sprawl of "Blackstar" -- a two-part suite stitched together by string feints and ominous saxophone -- suggests Bowie isn't encumbered with commercial aspirations, but Blackstar neither alienates nor does it wander into uncharted territory. For all its odd twists, the album proceeds logically, unfolding with stately purpose and sustaining a dark, glassy shimmer. It is music for the dead of night but not moments of desolation; it's created for the moment when today is over but tomorrow has yet to begin. Fittingly, the music itself is suspended in time, sometimes recalling the hard urban gloss of '70s prog -- Bowie's work, yes, but also Roxy Music and, especially, the Scott Walker of Nite Flights -- and sometimes evoking the drum'n'bass dabbling of the '90s incarnation of the Thin White Duke, sounds that can still suggest a coming future, but in the context of this album these flourishes are the foundation of a persistent present. This comfort with the now is the most striking thing about Blackstar: it is the sound of a restless artist feeling utterly at ease not only within his own skin but within his own time. To that end, Bowie recruited saxophonist Donny McCaslin and several of his New York cohorts to provide the instrumentation (and drafted disciple James Murphy to contribute percussion on a pair of cuts), a cast that suggests Blackstar goes a bit farther out than it actually does. Cannily front-loaded with its complicated cuts (songs that were not coincidentally also released as teaser singles), Blackstar starts at the fringe and works its way back toward familiar ground, ending with a trio of pop songs dressed in fancy electronics. These don't erase the heaviness of the opening quartet but such a sequencing suggests Blackstar is difficult when the main pleasure of the record is how utterly at ease it all feels: Bowie's joy in emphasizing the art in art-pop is palpable and its elegant, unhurried march resonates deeply. ~ Stephen Thomas Erlewine
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1.[LPレコード]
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1.Blackstar
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2.Tis a Pity She Was a Whore
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3.Lazarus
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4.Sue
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5.Girl Loves Me
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6.Dollar Days
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7.I Can't Give Everything Away
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