[碟評] SANDY LAM: GAIA by Michael McCarthy
http://otaku.collectiondx.com/musicreview/sandy-lam-gaia
SANDY LAM: GAIA
By Paris365 on October 09, 2012No comments
Release Date 9/20/12
Label Universal Music (HK)
Bored with making "safely bland" music, Sandy put her music career on pause
six years ago so that she could figure out what she really wanted to do next.
After four years of pondering what her artistic statement might be like,
Sandy began work on Gaia (that's Greek for "the mother of the earth"). She
spent two years working on the album, writing most of the songs herself, both
in terms of the lyrics and the music, producing it in collaboration with
Mainland music prodigy Chang Shilei. The resulting work is one of the most
moving and exquisitely produced albums of the year.
Opening track "無言歌" (Google translation: "Speechless Song"), which Sandy
has called her prayer for the world today, is a good predictor of what is to
come. It begins with what sounds like monks chanting but once they've
finished, dark electro sounds begin quietly and Sandy starts singing, her
voice beautiful and haunting. A beat reminiscent of Emilie Simon eventually
kicks in, giving the track its strong heartbeat. It's a song consisting of
layers and layers of electro sounds that sometimes float past in the
background and sometimes build-up to a magnificent breakdown.
Track two,"愛笑了" (Google: "Love To Laugh"), begins with loud, clattering
drums and intense orchestration then we hear a wailing sound like something
from a bleak sci-fi movie. There are slightly warmer electro-pop beats once
Sandy starts singing, her vocals here quite intense, but it remains a rather
ominous song that frequently sounds like it could be score from a Dario
Argento film. It all builds to a rather climactic if frantic moment where all
of the individual sounds we've heard thus far collide like a musical car
crash. It's a bit unsettling but mesmerizing nevertheless.
While the album certainly has its moments of tension and confusion, it has
just as many moments of bliss. "枯榮" (Google: "Impermanence"), for example,
is one of the most enchanting songs you'll hear all year. Its piano, drums
and assorted loops could be slightly menacing if taken alone, but Sandy sings
it with yearning and vulnerability in her voice, delivering a precious
performance that makes it one of the album's most uplifting songs.
The dream-like "Stay" also inspires warm feelings, pouring on layers and
layers of pleasant sounds from the start, calling to mind the electro-pop of
Caroline or even Bjork. It's a subtle but whimsical song that could probably
pass for a lullaby.
Most of the songs on Gaia could be considered electronica, using the term
loosely, but there are other influences as well. "紅眼眶" (Google: "Red
Orbital") is essentially a jazz song both in terms of the light percussion
and indelicate piano. "Cry," she sings, oh-so-softly, almost whispering, the
song's sole word in English, and it's sure to tug at your heartstrings. The
ballad "寂寞擁擠" (Google: "Lonely Crowded") also strays from the
electro-template. It begins with faint piano and Sandy singing softly but
grows in intensity as the song adds soaring strings and, eventually, a
screaming, anxious guitar solo.
The only song on the album that sounds like traditional Chinese music is the
endearing ballad "灰" (Google: "Gray"), which basically consists of bass
guitar, drums and piano. "You will always be my little precious," Sandy
sings, her voice warm and gorgeous. It's the second and only other appearance
of English in her lyrics.
Ultimately, Gaia proves to be a magical album that takes the listener on a
wondrous journey. It's full of amazing moments, some little and some grand,
which add up to create a truly remarkable whole. It's a wildly imaginative
album that will make you want to lean in close and catch every brilliant
detail. -Michael McCarthy
Labels and artists interested in being featured here may contact Michael
McCarthy at cinema365@gmail.com. Follow Michael on Twitter
https://twitter.com/paris365.
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