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Blur布勒 / 污点

地区: United Kingdom 英国
风格: 另类舞曲 Alternative Dance, 独立摇滚 Indie Rock, 英伦摇滚 Britpop, 另类摇滚 Alternative Rock
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小档案
中 文 名 污点乐队 
外 文 名 BLUR 
类    型 组合 
国    籍 英国 
成立时间 1988年 
代表作品 Lonesome Street
 
艺人资料
BLUR(污迹)组建在英国科尔切斯特。这支乐队是由主唱代蒙•阿尔本(Damon albarn)组建起来的。他曾在艺校的录音室中打工,因此后来熟识录音间的操作:贝司手亚历克斯•詹姆斯(Alex James),吉他手格雷厄穆•考可森(Graham Coxon),鼓手戴夫•朗特别里(Dave Rowntree),四个人全凭自己的天分取得了他们的地位,在两年时间里横扫英国流行界--他们以自己的行动和斐然的成绩有力的摧毁了“在电视游戏和舞曲时代摇滚乐已经死”的预言。
曾于1995年独领风骚夺得全英音乐奖年度最佳专辑、最佳团体、最佳单曲、最佳音乐录像带等大奖的90年代最具代表性英国乐团Blur,自90年代中期英国乐团势力极为强盛的时期,不论在音乐风格或演奏技巧都极获好评,在销售成绩获支持度的表现也都非常耀眼,而他们直接承袭了英国摇滚乐前辈乐团My Bloody Valentine、Stone Roses、Sex Pistols甚至Beatles的血脉,加上独树一帜的风格,使Blur成为当今最成功的Brit-pop乐团之一。
Blur由4位个性格鲜明、各有专精的团员Damon Albarn(主唱兼吉他手)、Graham Coxon(吉他手)、Dave Rowntree(鼓手)与Alex James(贝斯手)所组成,出道以来就分别拥有死忠的乐迷忠实支持。Damon十三岁时认识了Blur的吉他手Graham Coxon,两人一拍即合,成为非常要好的朋友。完成中学学业之后Damon搬回伦敦就读演艺学院,就读演艺学院一年之后,Damon发现到自己并没有办法成为一名伟大的演员,于是放弃学业在伦敦一家餐厅打工。在这个时候,Damon和Graham以及其它的几个朋友组了一个名为Circus的乐团,开始了他的乐团生涯。随后的期间其它的成员离去之后,两人找来Blur鼓手Dave Rowntree及贝司手Alex James并将原本的团名Circus改为Seymour,这就是现在独领英国Brit-Pop风骚的Blur的前身。
Damon出生在英国埃塞克斯郡科尔切斯特附近的莱特斯顿,从小就开始学习吉他,钢琴和小提琴。在Stanway综合学校(Stanway Comprehensive School)上学时期结识了未来的摇滚明星及乐队伙伴Graham Coxon。Damon同Graham一起组建了乐队,经过多次成员变更,Blur其他两位成员,Alex James和Dave Rowntree加入进来。
Blur发行第一张专辑《Leisure》及进行巡演,收到了褒贬不同的评价,在此之后音乐风格开始受英式经典摇滚乐队的影响。《Modern Life Is Rubbish》,《Parklife》和《The Great Escape》,使Blur成为英国最为流行的乐队及英伦摇滚的先声。随着英伦摇滚的热潮退却,Blur接下来的三张专辑《Blur》,《13》和《Think Tank》,更多的受到了独立摇滚和电子乐及说唱音乐的影响。
解散了一段时间后,乐队在2009年重组。并在2009年7月3日在伦敦海德公园举行演唱会。几天后,乐队又新加了一个日期,7月2日。 接着一系列6月份的预演也被宣布。卫报的音乐评论家 Alexis Petridis给他们在Goldsmiths学院的表演全五星,并且写道:“经过了那么多年,Blur的音乐只是变得更加有爆发力,他们听起来比在最富盛名时期更加的狂热和朋克性,并且表演更加细腻和充满探索感。” Blur于6月18日在 Glastonbury 音乐节压轴出场,那是自他们在1998年压轴出场后第一次在那里演出。.评论对于他们在Glastonbury的演出满腔热情,卫报把演出称作“这个时代Glastonbury最好的压轴演出者”。
乐队在2009年六月发行了他们第二张精选集《Midlife: A Beginner's Guide to Blur》。
Blur同样也做为其他夏日音乐节的压轴演出,包括在爱尔兰的 “Oxegen 2009” 以及苏格兰的“T in the Park”。 在完成了重组演出后,Damon告诉Q杂志,乐队还没有意向录制专辑或者再一次进行巡演。他说:“我只是再也没法做这些了,”然后解释重组的主要动机就是修补他同Graham的关系,这已经成功奏效了。
2010年1月,关于Blur的纪录片 《No Distance Left to Run》在电影院上映,一个月后以DVD发行。 2010年4月,Blur为 国际唱片日发行了1000张限量黑胶唱片"Fool's Day",这是自2003年以来他们发行的第一张新唱片。稍后他们在网站上免费提供下载。 《No Distance Left to Run》 在第五十三届格莱美被提名为最佳长篇音乐录像带。
2012年2月,在全英音乐奖上,Blur被授予杰出贡献奖。一个月之后,Damon和Graham一起为新歌"Under the Westway"做了首次现场演唱。4月,乐队宣布将于7月发行名为Blur 21 的盒子,盒子里包括七张Blur的录音室专辑,四张未发行的罕见唱片,以及三张DVD。
Blur 曾在2012年早些时候进录音室录制新专辑,但是5月份制作人William Orbit 告诉NME杂志说Damon暂停了录制。 Blur官方的推特和脸书宣布乐队将在7月2日发行两首单曲"The Puritan" 和"Under the Westway"。同年8月,Blur为了庆祝2012年夏季奥运会闭幕式在海德公园进行压轴演出。
2013年Blur宣布了一系列世界巡演,日程不断添加,官网公布了一系列演出包括比利时Rock Werchter音乐节、美国的coachella音乐节、西班牙和葡萄牙的Primavera Sound 音乐节,以及墨西哥、香港、印尼、智利、阿根廷、俄罗斯、土耳其、波兰、意大利、匈牙利、德国、法国、芬兰、挪威、爱尔兰等等国家和地区的演出。在香港场演出中,Damon宣布将会尝试录制新专辑。
2015年2月,Blur在伦敦一中餐馆中举行新专辑发布会,宣布十二年来的首张专辑The Magic Whip将于4月27日正式发行,并于当日公开了新曲go out及其MV;同时,他们宣布参与6 月 20 日在英国海德公园举行的「British Summer Time festival」音乐节,并称在海德公园演出前还会有英国巡演。
2016年2月英国NME音乐奖,Blur凭借《New World Tower》荣获最佳音乐电影奖。同月全英音乐奖,提名最佳乐队奖。5月Ivor Novello奖颁奖典礼上,Blur的主唱Damon Albarn被授予终身成就奖。
 
曾于1995年独领风骚夺得全英音乐奖年度最佳专辑、最佳团体、最佳单曲、最佳音乐录像带等大奖的90年代最具代表性英国乐团Blur,自90年代中期英国乐团势力极为强盛的时期,不论在音乐风格或演奏技巧都极获好评,在销售成绩获支持度的表现也都非常耀眼,而他们直接承袭了英国摇滚乐前辈乐团My Bloody Valentine、Stone Roses、Sex Pistols甚至Beatles的血脉,加上独树一帜的风格,使Blur成为当今最成功的Brit-pop乐团之一。
Blur由4位个性格鲜明、各有专精的团员Damon Albarn(主唱兼吉他手)、Graham Coxon(吉他手)、Dave Rowntree(鼓手)与Alex James(贝斯手)所组成,出道以来就分别拥有死忠的乐迷忠实支持。Damon十三岁时认识了Blur的吉他手Graham Coxon,两人一拍即合,成为非常要好的朋友。完成中学学业之后Damon搬回伦敦就读演艺学院,就读演艺学院一年之后,Damon发现到自己并没有办法成为一名伟大的演员,于是放弃学业在伦敦一家餐厅打工。在这个时候,Damon和Graham以及其它的几个朋友组了一个名为Circus的乐团,开始了他的乐团生涯。随后的期间其它的成员离去之后,两人找来Blur鼓手Dave Rowntree及贝司手Alex James并将原本的团名Circus改为Seymour,这就是现在独领英国Brit-Pop风骚的Blur的前身。
Damon出生在英国埃塞克斯郡科尔切斯特附近的莱特斯顿,从小就开始学习吉他,钢琴和小提琴。在Stanway综合学校(Stanway Comprehensive School)上学时期结识了未来的摇滚明星及乐队伙伴Graham Coxon。Damon同Graham一起组建了乐队,经过多次成员变更,Blur其他两位成员,Alex James和Dave Rowntree加入进来。
Blur发行第一张专辑Leisure及进行巡演,收到了褒贬不同的评价,在此之后音乐风格开始受英式经典摇滚乐队的影响。Modern Life Is Rubbish,Parklife和The Great Escape,使Blur成为英国最为流行的乐队及英伦摇滚的先声。随着英伦摇滚的热潮退却,Blur接下来的三张专辑Blur,13和Think Tank,更多的受到了独立摇滚和电子乐及说唱音乐的影响。解散了一段时间后,乐队在2009年重组。
 
2008年12月,Blur宣布重组,并将会在2009年7月3日在伦敦海德公园举行演唱会。几天后,乐队又新加了一个日期,7月2日。 接着一系列6月份的预演也被宣布。卫报的音乐评论家 Alexis Petridis给他们在Goldsmiths学院的表演全五星,并且写道:“经过了那么多年,Blur的音乐只是变得更加有爆发力,他们听起来比在最富盛名时期更加的狂热和朋克性,并且表演更加细腻和充满探索感。” Blur于6月18日在 Glastonbury 音乐节压轴出场,那是自他们在1998年压轴出场后第一次在那里演出。.评论对于他们在Glastonbury的演出满腔热情,卫报把演出称作“这个时代Glastonbury最好的压轴演出者”。
乐队在2009年六月发行了他们第二张精选集Midlife: A Beginner's Guide to Blur。Blur同样也做为其他夏日音乐节的压轴演出,包括在爱尔兰的 Oxegen 2009 以及苏格兰的T in the Park。 在完成了重组演出后,Damon告诉Q杂志,乐队还没有意向录制专辑或者再一次进行巡演。他说:“我只是再也没法做这些了,”然后解释重组的主要动机就是修补他同Graham的关系,这已经成功奏效了。2010年1月,关于Blur的纪录片 No Distance Left to Run在电影院上映,一个月后以DVD发行。 2010年4月,Blur为 国际唱片日发行了1000张限量黑胶唱片"Fool's Day",这是自2003年以来他们发行的第一张新唱片。稍后他们在网站上免费提供下载。 《No Distance Left to Run》 在第五十三届格莱美被提名为最佳长篇音乐录像带。
2012年2月,在全英音乐奖上,Blur被授予杰出贡献奖。一个月之后,Damon和Graham一起为新歌"Under the Westway"做了首次现场演唱。4月,乐队宣布将于7月发行名为Blur 21 的盒子,盒子里包括七张Blur的录音室专辑,四张未发行的罕见唱片,以及三张DVD。
Blur 曾在2012年早些时候进录音室录制新专辑,但是5月份制作人William Orbit 告诉NME杂志说Damon暂停了录制。 Blur官方的推特和脸书宣布乐队将在7月2日发行两首单曲"The Puritan" 和"Under the Westway"。同年8月,Blur为了庆祝2012年夏季奥运会闭幕式在海德公园进行压轴演出。
2013年Blur宣布了一系列世界巡演,日程不断添加,官网公布了一系列演出包括比利时Rock Werchter音乐节、美国的coachella音乐节、西班牙和葡萄牙的Primavera Sound 音乐节,以及墨西哥、香港、印尼、智利、阿根廷、俄罗斯、土耳其、波兰、意大利、匈牙利、德国、法国、芬兰、挪威、爱尔兰等等国家和地区的演出。在香港场演出中,Damon宣布将会尝试录制新专辑。
Initially, Blur was one of the multitude of British bands who appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. Following an image makeover in the mid-'90s, the group emerged as the most popular band in the U.K., establishing themselves as heir to the English guitar pop tradition of the Kinks, the Small Faces, the Who, the Jam, Madness, and the Smiths. In the process, the group broke down the doors for a new generation of guitar bands who became labeled as Brit-pop. With Damon Albarn's wry lyrics and the group's mastery of British pop tradition, Blur was the leader of Brit-pop, but they quickly became confined by the movement; since they were its biggest band, they nearly died when the movement itself died. Through some reinvention, Blur reclaimed their position as an art pop band in the late '90s by incorporating indie rock and lo-fi influences, which finally gave them their elusive American success in 1997. But the band's legacy remained in Britain, where they helped revitalize guitar pop by skillfully updating the country's pop traditions.
Originally called Seymour, the group was formed in London in 1989 by vocalist/keyboardist Damon Albarn, guitarist Graham Coxon, and bassist Alex James, with drummer Dave Rowntree joining the lineup shortly afterward. After performing a handful of gigs and recording a demo tape, the band signed to Food Records, a subsidiary of EMI run by journalist Andy Ross and former Teardrop Explodes keyboardist Dave Balfe. Balfe and Ross suggested that the band change their name, submitting a list of alternate names for the group's approval. From that list, the group took the name Blur.
"She's So High," the group's first single, made it into the Top 50 while the follow-up, "There's No Other Way," went Top Ten. Both singles were included on their 1991 Stephen Street-produced debut album, Leisure. Although it received favorable reviews, the album fit neatly into the dying Manchester pop scene, causing some journalists to dismiss the band as manufactured teen idols. For the next two years, Blur struggled to distance themselves from the scene associated with the sound of their first album.
Released in 1992, the snarling "Pop Scene" was Blur's first attempt at changing their musical direction. A brash, spiteful rocker driven by horns, the neo-mod single was punkier than anything the band had previously recorded and its hooks were more immediate and catchy. Despite Blur's clear artistic growth, "Pop Scene" didn't fit into the climate of British pop and American grunge in 1992 and failed to make an impression on the U.K. charts. Following the single's commercial failure, the group began work on their second album, Modern Life Is Rubbish, a process that would take nearly a year and a half.
XTC's Andy Partridge was originally slated to produce Modern Life Is Rubbish, but the relationship between Blur and Partridge quickly soured, so Street was again brought in to produce the band. After spending nearly a year in the studio, the band delivered the album to Food. The record company rejected the album, declaring that it needed a hit single. Blur went back into the studio and recorded Albarn's "For Tomorrow," which would turn out to be a British hit. Food was ready to release the record, but the group's U.S. record company, SBK, believed there was no American hit single on the record and asked them to return to the studio. Blur complied and recorded "Chemical World," which pleased SBK for a short while; the song would become a minor alternative hit in the U.S. and charted at number 28 in the U.K. Modern Life Is Rubbish was set for release in the spring of 1993 when SBK asked Blur to re-record the album with producer Butch Vig (Nirvana, Sonic Youth). The band refused and the record was released in May in Britain; it appeared in the United States that fall. Modern Life Is Rubbish received good reviews in Britain, peaking at number 15 on the charts, yet it failed to make much of an impression in the U.S.
Modern Life Is Rubbish turned out to be a dry run for Blur's breakthrough album, Parklife. Released in April 1994, Parklife entered the charts at number one and catapulted the band to stardom in Britain. The stylized new wave dance-pop single "Girls and Boys" entered the charts at number five; the single managed to spend 15 weeks on the U.S. charts, peaking at number 52, but the album never cracked the charts. It was a completely different story in England, as Blur had a string of hit singles, including the ballad "To the End" and the mod anthem "Parklife," which featured narration by Phil Daniels, the star of the film version of the Who's Quadrophenia.
With the success of Parklife, Blur opened the door for a flood of British indie guitar bands who dominated British pop culture in the mid-'90s. Oasis, Elastica, Pulp, the Boo Radleys, Supergrass, Gene, Echobelly, Menswear, and numerous other bands all benefited from the band's success. By the beginning of 1995, Parklife had gone triple platinum and the band had become superstars. The group spent the first half of 1995 recording their fourth album and playing various one-off concerts, including a sold-out stadium show. Blur released "Country House," the first single from their new album, in August amidst a flurry of media attention because Albarn had the single's release moved up a week to compete with the release of "Roll With It," a new single from Blur's chief rivals, Oasis. The strategy backfired. Although Blur won the battle, with "Country House" becoming the group's first number one single, they ultimately lost the war, as Oasis became Britain's biggest band with their second album, (What's the Story) Morning Glory?, completely overshadowing the follow-up to Parklife, The Great Escape. While The Great Escape entered the U.K. charts at number one and earned overwhelmingly positive reviews, it sold in smaller numbers, and by the beginning of 1996, Blur was seen as has-beens, especially since they once again failed to break the American market, where Oasis had been particularly successful.
In the face of negative press and weak public support, Blur nearly broke up in early 1996, but they instead decided to spend the entire year out of the spotlight. By the end of the year, Albarn was declaring that he was no longer interested in British music and was fascinated with American indie rock, a genre that Graham Coxon had been supporting for years. These influences manifested themselves on Blur's fifth album, Blur, which was released in February of 1997 to generally positive reviews. The band's reinvention wasn't greeted warmly in the U.K. — the album and its first single, "Beetlebum," debuted at number one and quickly fell down the charts — as the group's mass audience didn't completely accept their new incarnation. However, the band's revamped sound earned them an audience in the U.S., where Blur received strong reviews and became a moderate hit, thanks largely to the popularity of the single "Song 2." The success in America eventually seeped over to Britain, and by the spring, the album had bounced back up the charts. 13 followed in 1999.
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