Although, 2020 has only passed a quarter, but
Talent, uniqueness, novelty, such a statement, of course, is suitable to describe Wen Zhaojie's album, but
Yes, in the album "After", Wen Zhaojie completed a kind of breakthrough, rather than the usual sense of the challenge and breakthrough of the musical form.
This system is a challenge for people who are accustomed to traditional pop music. But once you start to immerse yourself in Wen Zhaojie's music, it is actually a kind of breaking your inherent aesthetic cognition.
Although there are only six works, "After" has a fairly holistic musical temperament, but also has a certain level and twist. In particular, a one-and-a-half-minute "Interest" played a kind of Interlude role in the entire album.
With this as a watershed, the first three songs of the album are forceful and heavy, while the last two songs are relatively relaxed and slow. Such design and arrangement not only allows emotions to have a proper release outlet, but also this zhang chi's conversion and balance is also in line with auditory habits.
And they are difficult to define in a solidified label, and each work is more like a living body that is difficult to copy.
By analogy, Aftermath is indeed closer to Anternative R&B like The Weeknd (although this album has little to do with R&B), with more emphasis on the atmosphere of the music, the infinite possibility of destructuring, and even at any point in time in the music, there will be the possibility of improvisation, or often the whole work, is a different improvisation.
The eponymous song "After" is more like the Intro of the entire album, the Nordic piano, coupled with the ambient sound effects, and even the shroud of noise sounds, it is like restoring the chaotic world, aurora and infinity, death and rebirth. "Hate to live and fear to die" is the focus of the whole work.
The undertones of "Sorry" have the tone of San Francisco's psychedelic, but it's more than that. The grandeur of analog wind music, coupled with the destructive desire to tear the sound effects, also shows the theme of "pride on one side and lowliness on the other".
Using a partial rock expression, the song "Waste Pie" played an emotional supremacy role in the album. But the so-called rock is also not Band Sound's three-piece or four-piece routine rock. There is an elusive guitar noise in "Scrap Pie", the tone of both Buzz and Fuzz, which obviously removes the heroic expression of the guitar, and the more invisible "loose" and casual, and the emotional expression of "waste me", more synchronized.
Besides
In recent years, the newcomer singers have indeed drifted away from the expression of traditional Chinese pop music, and have more Flow that belongs to their own singing level. But even so, Wen Zhaojie's "After" is still unique, and the interpretation of traditional songs is completely subversive.
This, in fact, is also a kind of breaking the form of song singing, because if it is broken, there is no shackle.
This kind of emotional interpretation can be used as an example from "Nose and Nose". When many people evaluate the singing voice of a song, they often involve technical aspects such as transposition, treble, bass, etc., or another kind of listener-level perception, such as making people feel warm, music has temperature and so on.
But in the song "Nose and Nose", you can intuitively feel the smile, happiness and satisfaction of Wen Zhaojie's singer, the corners of his mouth gently rising. Singing "very happy days" with "very happy look" is probably the magic of emotional interpretation.
Of course, the so-called emotional deduction is actually not as mysterious as the text itself. In fact, Wen Zhaojie's singing in "After", although extremely emotional, is not ethereal and laissez-faire.
The reason why the vocals in the whole album sound both willful and personal, but also very three-dimensional and full, is precisely because a lot of harmonies are used in the production process. even
And as an album worth calling, it really needs to be praised for lu Xiwen, the producer of the "After" album. Lu Xiwen, who has worked with musicians and bands such as Li Yuchun, Silent Speech, Not Elegant and Click #15, is, in other words, a new generation of treasure producers.
His mood design and timbre choices for the "After" album, such as Fender Rhodes, which can never be imitated by sound effect software, in "Sorry", to create that old sense of warmth, make the music perfect because of this exquisite layout.
As for Wen Zhaojie, even though "After" is his first personal music work, he has completed the initial establishment of his personal music system through six works. Using the circular Chorus way, so that the work in the emotional extension, can still complete the progression of Verse, the combination of breath and melody, the balance of emotion and strength of the creation and expression, let him in this generation of singer-songwriters, have a unique Flow.
These are the singers that Wen Zhaojie likes, he has not been able to be exactly the same as them, but he has already done his own difference.