Rock/Pop
CDアルバム

String Theory

0.0

販売価格

¥
1,529
税込
ポイント15%還元

廃盤

在庫状況 について

フォーマット CDアルバム
発売日 2007年01月15日
国内/輸入 輸入
レーベルWoronzow
構成数 1
パッケージ仕様 -
規格品番 WOO55CD
SKU 5021449245529

構成数 : 1枚
合計収録時間 : 01:04:23
With String Theory, Adrian Shaw continues to re-imagine psychedelia, acid rock, and space rock in fresh ways. A knack for sonic diversity, a willingness to experiment, and a distinctive lyrical perspective assure that his work dodges the pitfalls of anachronism and escapes categorization as a merely fashionable exercise in retro style. String Theory shares themes with Shaw's previous records (addressing age, decline, drug damage, and nostalgia) and also exhibits his signature eclecticism -- incorporating heavy riffing, electronic experimentation, psych-pop touches, a dash of country twang, and subtle symphonic coloring. No Adrian Shaw album would be complete without special guests, and several familiar axe men make appearances: Shaw's son Aaron, Bari Watts (Outskirts of Infinity), Nick Saloman (the Bevis Frond), Paul Simmons (Alchemysts), and even John Perry (the Only Ones) plug in, turn up, and freak out. Watts' pyrotechnics make the grinding "Mirrors" and the slow-burning "Bide My Time" especially memorable, but several of the highlights are entirely Shaw's own work: the country-flavored "Do It Again," the Beatlesque "Cotham Hill," and "Lost for Words," a moody ballad with a brooding Fender Rhodes, all underscore his multi-instrumental prowess. And despite the roster of heavy friends, Shaw alone performs one of String Theory's heaviest tracks, "Stirrup Cup, " a tirade against fox hunting that showcases his own blistering guitar work. While Shaw has much in common with Bevis Frond bandmate Saloman in his lyrical preoccupations, musically he tends toward a more varied approach. That's emphasized here by playful, experimental touches: "Non-Stop Dancing" has a quirky electronic preface (then eventually morphs into a hard-driving number featuring Perry); "Saving Grace" begins with a collage of sampled voices, sitar, and tabla before bringing the guest guitarists together for one last, epic freak-out. Shaw's strongest album since Displaced Person, String Theory continues to assert his versatility as a songwriter and musician. ~ Wilson Neate

  1. 1.[CDアルバム]
    1. 1.
      Mirrors
    2. 2.
      Thirty Two
    3. 3.
      Do It Again
    4. 4.
      Cotham Hill
    5. 5.
      Bide My Time
    6. 6.
      Lost for Words
    7. 7.
      Stirrup Cup
    8. 8.
      Oak and Brass
    9. 9.
      Non-Stop Dancing
    10. 10.
      Saving Grace

作品の情報

メイン
アーティスト: Adrian Shaw

商品の紹介

With String Theory, Adrian Shaw continues to re-imagine psychedelia, acid rock, and space rock in fresh ways. A knack for sonic diversity, a willingness to experiment, and a distinctive lyrical perspective assure that his work dodges the pitfalls of anachronism and escapes categorization as a merely fashionable exercise in retro style. String Theory shares themes with Shaw's previous records (addressing age, decline, drug damage, and nostalgia) and also exhibits his signature eclecticism -- incorporating heavy riffing, electronic experimentation, psych-pop touches, a dash of country twang, and subtle symphonic coloring. No Adrian Shaw album would be complete without special guests, and several familiar axe men make appearances: Shaw's son Aaron, Bari Watts (Outskirts of Infinity), Nick Saloman (the Bevis Frond), Paul Simmons (Alchemysts), and even John Perry (the Only Ones) plug in, turn up, and freak out. Watts' pyrotechnics make the grinding "Mirrors" and the slow-burning "Bide My Time" especially memorable, but several of the highlights are entirely Shaw's own work: the country-flavored "Do It Again," the Beatlesque "Cotham Hill," and "Lost for Words," a moody ballad with a brooding Fender Rhodes, all underscore his multi-instrumental prowess. And despite the roster of heavy friends, Shaw alone performs one of String Theory's heaviest tracks, "Stirrup Cup, " a tirade against fox hunting that showcases his own blistering guitar work. While Shaw has much in common with Bevis Frond bandmate Saloman in his lyrical preoccupations, musically he tends toward a more varied approach. That's emphasized here by playful, experimental touches: "Non-Stop Dancing" has a quirky electronic preface (then eventually morphs into a hard-driving number featuring Perry); "Saving Grace" begins with a collage of sampled voices, sitar, and tabla before bringing the guest guitarists together for one last, epic freak-out. Shaw's strongest album since Displaced Person, String Theory continues to assert his versatility as a songwriter and musician. ~ Wilson Neate|
Rovi

With String Theory, Adrian Shaw continues to re-imagine psychedelia, acid rock, and space rock in fresh ways. A knack for sonic diversity, a willingness to experiment, and a distinctive lyrical perspective assure that his work dodges the pitfalls of anachronism and escapes categorization as a merely fashionable exercise in retro style. String Theory shares themes with Shaw's previous records (addressing age, decline, drug damage, and nostalgia) and also exhibits his signature eclecticism -- incorporating heavy riffing, electronic experimentation, psych-pop touches, a dash of country twang, and subtle symphonic coloring. No Adrian Shaw album would be complete without special guests, and several familiar axe men make appearances: Shaw's son Aaron, Bari Watts (Outskirts of Infinity), Nick Saloman (the Bevis Frond), Paul Simmons (Alchemysts), and even John Perry (the Only Ones) plug in, turn up, and freak out. Watts' pyrotechnics make the grinding "Mirrors" and the slow-burning "Bide My Time" especially memorable, but several of the highlights are entirely Shaw's own work: the country-flavored "Do It Again," the Beatlesque "Cotham Hill," and "Lost for Words," a moody ballad with a brooding Fender Rhodes, all underscore his multi-instrumental prowess. And despite the roster of heavy friends, Shaw alone performs one of String Theory's heaviest tracks, "Stirrup Cup, " a tirade against fox hunting that showcases his own blistering guitar work. While Shaw has much in common with Bevis Frond bandmate Saloman in his lyrical preoccupations, musically he tends toward a more varied approach. That's emphasized here by playful, experimental touches: "Non-Stop Dancing" has a quirky electronic preface (then eventually morphs into a hard-driving number featuring Perry); "Saving Grace" begins with a collage of sampled voices, sitar, and tabla before bringing the guest guitarists together for one last, epic freak-out. Shaw's strongest album since Displaced Person, String Theory continues to assert his versatility as a songwriter and musician. ~ Wilson Neate
Rovi

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