Former Things

〈Warp〉創始者スティーヴ・ベケットをはじめP.I.L.、アート・オブ・ノイズら伝説達を虜にするローンレディ、実に6年ぶり最新作完成!!

〈Warp〉創始者スティーヴ・ベケット、P.I.L.、アート・オブ・ノイズら伝説達を虜にするローンレディことジュリー・キャンベル。
The Guardian、The Quietus、The Financial Timesなどから高評価を受けた2015年のアルバム『Hinterland』以来となるサードアルバムをリリース!
本作は作詞、作曲、演奏、レコーディングの全てがローンレディ自身によって行われ、18世紀の射撃場を実験的なパフォーマンス・スペースに改装したサマセットハウス・スタジオで過ごした際に全ての楽曲が作り上げられたという。
エレクトロなマシーン・グルーヴ、カッティング・ギターやシンセ使いが絶妙なオープニング・トラックの「The Catch」、クラフトワークを想起させるようなフレーズも聞こえてくる「Threates」、「ファンク、クランチ、ボコーダーを使った恐怖のエレクトロスケープ!」と本人が表現する先行解禁曲「Fear Colours」他、80sへのリスペクトがこめられた全8曲収録の力作!

I feel like lately Ive been missing in action, LoneLadys Julie Campbell sings on Former Things, and while its true that shes not the most prolific artist, when she returns every half-decade or so, its with something meaningful and beautifully crafted. Time is on her mind on her third album, and though six years lie between it and her previous full-length Hinterland, Former Things is so immediately gripping that it feels like the blink of an eye. The Catcher begins the album by proving that her dance-punk is as spine-tinglingly taut as it was when she introduced it on 2010s Nerve Up. This is the first album she created outside of her beloved Manchester, which loomed large on both Hinterland and her debut. Instead, Campbell accepted a residency at Londons Somerset House Rifle Range, a renovated 18th century shooting range that afforded her the ability to create in private and enjoy one of the worlds biggest and busiest cities. Though she didnt completely change her habits -- she recorded the album entirely by herself -- the change of scenery brings new colors and moods to her musics foundations. Immersing herself completely in the electronics that crept into her sound on Hinterland, Campbell nods to Cybotron and Neneh Cherry with crisp textures and restless beats that capture a bustling city (or dancefloor) with the same vividness her previous albums evoked desolate urban ruins. The tension between past and present, and inner and outer selves, makes Former Things riveting listening, particularly on the paranoid electro-funk of Threats, on which Campbells sense of identity dissolves into confetti over an ominously snaking synth bass. Shes always questioned and challenged herself on each album, but its rarely sounded as pleasurable as it does on Former Things. She balances her introspection with plenty of hooks, whether its the glockenspiel and synth strings that sweeten her musings on the passing of time on the title track or the zaps, beeps, and vocoders that shadow her as she stares down her worries on Fear Colours. Both economical and richly evocative, Former Things is as brilliant and sharp as a diamond -- and its the first LoneLady album that could honestly be described as fun. ~ Heather Phares

マンチェスターの奇才と言っていい彼女。およそ6年ぶりのアルバムは、ソングライティング、演奏、録音を自身で手掛けたまさに純粋なソロ作。従来から持つポスト・パンク、ニューウェイヴ的感覚を残しつつエレクトロを多用した仕上がりで、一般的にイメージされる華やかな80年代風のサウンドとは違い、あくまで硬質でクール、そして攻撃的なのがいかにも彼女らしくていいですね。キレと色気を増したヴォーカルも聴きどころ。
bounce (C)赤瀧洋二