Terry Riley《Shri Camel》| 96kHz/24bit 无损收藏版 印度拉格与极简主义的时空对话

作为极简主义音乐的奠基之作，Terry Riley 于 1980 年发行的《Shri Camel》以东方哲学与电子音乐的交融重新定义了声音的可能性。这张被《滚石》杂志评为 “20 世纪最具突破性的专辑之一” 的作品，通过改装电子风琴与数字延迟技术，将印度拉格的即兴美学与西方极简主义的重复结构编织成一场跨越时空的听觉冥想。2024 年黑胶重发版以96kHz/24bit FLAC 格式重新母带处理，首次完整呈现 Riley 在录音室中捕捉的泛音涟漪与空间回响，被誉为 “数字时代对模拟美学的致敬”。

音乐风格：神秘主义的声音炼金术

专辑以印度拉格音乐为灵感源头，融合Just Intonation 调音系统（频率比为小整数比），创造出区别于传统平均律的自然和声色彩。例如，开场曲《Anthem of the Trinity》通过多声部叠加的嗡鸣，模拟印度寺庙晨祷的神圣氛围，而《Celestial Valley》中螺旋上升的电子音色则呼应拉格音乐中 “raga”（情绪色彩）的渐进展开。Riley 在此专辑中首次将数字延迟技术作为作曲工具，通过实时处理让每个音符在空间中形成自生长的声波矩阵，这种 “声音建筑” 的理念影响了后来 Brian Eno 的环境音乐创作。

Shri Camel
Terry Riley
规格：4 首
发行时间：1990-10-25
FLAC|96kHz/24bit
专辑下载
简介
01 – Anthem of the Trinity
02 – Celestial Valley
03 – Across the Lake of the Ancient Word
04 – Desert of Ice

As we round into the most stressful week of the most stressful year in recent memory, we need frequent immersions into the transcendent sonic world of Terry Riley, the greatest living American composer/improviser… if I may be so bold (and I may).

Now, the great thing about this master of minimalism and mesmerism is that you can dip into almost any record in his discography and find succor. I’m partial to anything Riley’s done from the ’60s to the ’80s. And that’s where Shri Camel falls. Commissioned by West Germany’s Radio Bremen in 1975, Riley started composing it that year and performed an early version of Shri Camel in Bremen the following year. In 1977, Riley cut a different iteration of the work, dividing it into four suites at a San Francisco studio. For some reason, CBS didn’t issue the recording until 1980. Better late than never, he understated.

Using a modified Yamaha YC-45D combo organ tuned in just intonation and augmented with digital delay, Riley applied lessons learned from Indian raga guru Pandit Pran Nath, especially regarding “singing in search of swara, or ‘the knowledge of profound pitch relationships which reigns supreme,’” as Hugh Gardner put it in the liner notes. Suffice it to say, Riley synthesized Nath’s ancient wisdom with modern technology and his own spontaneous creativity to summon a zoner for the (s)ages.

Seemingly sputtering out of a golden spigot in the holiest temple, album-opener “Anthem Of The Trinity” is a fanfare for a benevolent god who only wants you to feel buoyant, warm, and loved for eternity. Throughout most of Shri Camel, Riley dazzles up a momentous motif—a bass-y three-chord figure (da da DAAA)—that sounds as if it could be a sperm whale’s mating call. The track ebbs and flows from elation to sternness, with moments of warped turbulence. “Celestial Valley” unspools more introverted fractals of organ drones, spiraling inward to massage all of your chakras. At times, Riley’s organ swells to revelatory dimensions (no double entendre, sorry), generating flurries of vamps geared to excite and exalt your every atom. You wonder how much pleasure your head can endure under such an onslaught of heavenliness.

Obviously, there’s no way to maintain that level of highness, so Riley downshifts on “Across The Lake Of The Ancient Word” into a more somber feel, like the entrance music for the funeral of a benevolent cult leader. Riley embroiders that aforementioned bass-y three-chord motif with frantic bubbles of keyboard spume. It feels like you’re floating in an ocean of champagne. “Desert Of Ice” starts where “Ancient Word” left off, and then intensifies and embellishes it. Riley appears to be playing a vibraphone made out of said ice with an elegant swiftness that seems supra-human, à la Conlon Nancarrow’s player-piano works. The bass-y three-chord pattern’s urgency keeps surging into the increasingly ebullient organ carbonation, and Riley begins to improvise variations on the spacey theme, with every tonality contoured to levitate you light years from earthbound reality. This is how you close an album. Bow down to the master of aural transcendence. -Buckley Mayfield

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