The High Llamas

1992 年崛起于倫敦 , The High Llamas 是一隊為了創(chuàng)造美麗音樂而成立的樂團 . 一如樂團主腦 Sean O'Hagan 樂意效仿的老前輩 - Brian Wilson( The Beach Boys)一般 , O'Hagan 曾與另一位樂手 Cathal Coughlan 在 1980 年組過一隊來自 Dublin , 受到 The Smiths , Aztec Camera 等英倫新浪漫樂團影響 , 名為 Microdisney 的另類搖滾樂隊 , 并且在 Rough Trade , Virgin 等廠牌旗下發(fā)行了數(shù)張專輯 . 一直到了 1988年,Microdisney 解散 , Coughlan 另起爐灶 , 組了 Fatima Mansions 這個樂隊 , O'Hagan 則選擇單飛 , 并且發(fā)行了一張命名為 " The High Llamas " 的個人專輯 ( 有趣的是 , 這個奇異標題以及專輯封面是取自一份雜志上所刊登的一禎維多利亞時代的熱氣球圖片 ! ).直到 1992 年 , O'Hagan 找來了 Marcus Holdaway ( keyboards ) , Jon Fell ( bass ) , Rob Allum ( drums ) , 并且決定以 The High Llamas 為團名 , 錄制了首張命名為 Apricots 的迷你專輯 . 英國獨立廠牌 Mute 慧眼獨具地簽下這張作品 , 并在稍後另外加上四首曲目 , 便成了 The High Llamas 的首張全長度專輯 ~ Santa Barbara . 1994 年 , The High Llamas 完成了另一張受到英美樂壇高度贊譽的經(jīng)典專輯 ~ Gideon Gaye . 自此之後 , 每張 The High Llamas 的專輯 , 便是依照著這樣的標準來自我提升 , 也因此每張專輯都能帶給愛樂者們不同的驚喜與收獲 . 從 1992 年開始 , 一直到 2000 為止 , The High Llamas 共發(fā)行了 Santa Barbara , Gideon Gaye , Hawaii , Cold and Bouncy , Snowbug , 以及 Buzzle Bee 等六張專輯 , 還有 Apricots , The Sun Beats Down , Lollo Rosso 等三張 EP . 合作的對象更星光爍爍地包含了 Stereolab , Mouse On Mars , Cornelius , Jim O'ruke , Kid Loco 等各界英雄好漢 . 眾星拱月之下 , The High Llamas 每張專輯自然成為樂迷們不計代收藏的目標!Sean O'hagan 與駱駝們不僅以 Brian Wilson 與 The Beach Boys 為宗師 , 更試圖在音樂中觀照他們的廣泛聆聽喜好所帶來的影響 . 從配樂大師 Burt Bacharach ( 也就是爵士傳唱名曲 " The Look Of Love " 的作者 ) , 搖滾老團 Steely Dan , 一直到 Bossa Nova 開山　祖 Joao Gilberto , 甚至是 Bossa Nova 女神 Astrud Gilberto ( 也就是把 Girl From Ipanema 唱成經(jīng)典的那位女士 ) , 這些橫跨 Album Rock , Brazillian , Film Music , Contemporary Jazz 等不同　域的音樂材料 , 便在駱駝們的精心安排下 , 融入了他們的音樂之中 .除此之外 , 一如他們的“表親”Stereolab 與 Mouse On Mars 一般 ( Sean O'Hagan 自己也可以算是 Stereolab 的 " 兼職成員 " 吧 !! ) , 駱駝們從電音的角度來切入樂隊音樂的創(chuàng)作 , 并且把觸角廣泛探入復古走向的日本澀谷系以及歐美當令以解構取勝的後搖滾樂圈內(nèi)。
by Richie Unterberger
Although the High Llamas are nominally a group, theyre pretty much the brainchild of singer and guitarist Sean OHagan. OHagan did some time in the London-by-way-of-Dublin band Microdisney, in which he was the songwriting partner of Cathal Coughlan. After Microdisney split in 1988 (Coughlan forming Fatima Mansions), OHagan released a couple of import-only solo albums before forming the High Llamas. The Llamas issued their debut, Gideon Gaye, in 1994 to high praise in the British press; it was released in the States a year later almost as an afterthought, with virtually no fanfare. Comparisons of the High Llamas/OHagan to Brian Wilson/the Beach Boys are unavoidable, and not just from arcane critics. Anyone with a large Beach Boys collection will detect the uncanny resemblance to 1966-1970 Beach Boys, with the sophisticated melodies, the beautiful harmonies, and the elaborate production, with the emphasis on layered keyboards and orchestration. Echoes of Pet Sounds, Smile, Wild Honey, and Surfs Up predominate, though OHagan also claims Burt Bacharach as a major inspiration. The Llamas began to build a bigger and bigger fan base throughout the late 90s (in the US as well as the UK) and OHagens ever-shifting, ever-growing stable of side musicians made sure every album was as beautifully arranged and carefully conceived as the last. Subsequent efforts include 1996s gorgeously sprawling Hawaii, 1997s warmly clinical Cold and Bouncy, and 1999s chilly Snowbug. Buzzle Bee arrived the following year, featuring a more stripped-down sound and guest vocals from Mary Hansen from Stereolab. Before her tragic death in late 2002, OHagen had Hansen onboard for the Llamas chamber-pop masterpiece Beet, Maize & Corn. Virtually eliminating the standard electric guitar, bass and drums formula, Beet, Maize & Corn was full of lilting strings, warm horns and gently plucked classical guitars, and proved to be a high achievement for the Llamas with both critics and fans. Four years later, in 2007, OHagen and company revisited the sunny sprawl of Hawaii (as well as Cold and Bouncys technical slickness) for the upbeat and lovingly crafted Can Cladders.