Review from China

Another accurate review, this time from CHINA!
Website: https://bit.ly/37umaos

(Google Translate)
The music of the Canterbury Sound period can be viewed to be a kind of avant-garde rock mode that is very pleasing and inviting.

There is no excessive pursuit of avant-garde, but it actively absorbs elements from jazz and classical music to achieve rich layering and tension.

This album is a revival of the Voice of Canterbury.

The singing on the first song even has a taste of Gentle Giant.

With the help of modern mixing technology, the human voice is clearly divided into three positions on the left, middle and right. Layer upon layer, rich and beautiful.

Like all Canterbury Voices, they also borrowed a lot of jazz writing features, but because they were not improvised but finely composed in advance, the melody is smooth and pleasing, and there us no feeling of frequent out-of-tune jazz. There is also no such thing as “stacking scales for chords”.

Although there is less contingency, the meticulous writing makes the music more emotional.

At the same time, rich timbre is introduced into the music. While these sounds enrich the music, the pitch is also written in accordance with the harmony of the music instead of pure sound effects, thus creating this beauty with both jazz and classical characteristics. The sound is modern and traditional.

The use of drums in the entire album, especially the volume of snare drums, is very restrained, without the restlessness of rock music, but with a lot of dynamics showing full flexibility.

Especially the snare drum in the prelude to the song Bridge of Anxiety, the fast double jump, and the fluctuating playing dynamics directly bring the rhythm. The beauty of the real musical instrument is highlighted. (Unfortunately, more and more pop music doesn’t have the feeling of real performance and lack of such agility)

Let’s look back at the guitar playing in the fourth song ‘ A Winter Storm on Spring Blossom.’ In the large solo after 2 minutes, the overdrive tone used makes the sound hot and sweet, and the left and right parts of the two guitars alternately appear in response, and then gush out.

The only downside is that the sound mix is ​​relatively too modern and lacks a sense of space characteristic of old-fashioned music. With the clarity of modern music. This is of course a good thing, and maybe many people like this clear sound. However, I personally think that if the sound is wider and farther, it will make this album more beautiful.


坎特伯雷之声时期的音乐,可以说是很讨喜又讨巧的一种前卫摇滚模式。

没有过份的追求先锋性,而是积极的吸取了爵士乐与古典音乐中的元素,实现丰富的层次感与张力。

这张专辑便是一个对坎特伯雷之声的复兴。

第一首歌的重唱甚至还有几分温和巨人乐队的味道。

借助于现代的混音技术,人声被清晰的分在了左中右三个放位。层层叠来,丰富而美妙。

如同所有坎特伯雷之声一样,他们也同样借鉴的大量的爵士乐编写特点,但因为不是即兴演奏而是提前精细的编写,因而旋律是流畅悦耳的,并没有出现爵士乐中那种频繁离调的感觉,也没有那种“为了配上和弦而堆音阶”的片段。

虽然少了些许偶然性,但是精心的编写却让音乐更触动情感

同时,音乐中引入了丰富的音色,这些声音丰富了音乐的同时,音高也是按照乐曲和声进行编写的而非单纯的音效,于是便产生了这种同时拥有爵士和古典两种特色的美感,声音即现代又传统。

整张专辑中架子鼓的运用,特别是军鼓的音量十分克制,没有摇滚乐的躁动感,却带着大量的动态显出了十足的灵动。

特别是Bridge of Anxiety这首歌前奏的军鼓,快速的双跳,起伏的演奏力度,就直接带来了律动。真实演奏的乐器的美感凸显而出。(可惜越来越多的流行乐没有这种真实演奏的感觉了,也少了这种灵动)

我们回过头看一下第四首歌Awinter Storm on Spring Blossom中的吉他演奏。2分之后的大段solo,使用的过载音色使得声音热辣甜美,两把吉他左右两声部交替出现形成呼应,又喷涌而出。

唯一的缺点便是混音相对过于现代,少了几分老式音乐中特有的空间感。带着现代音乐的那种清晰。这当然是好事,也许很多人喜欢这种清晰的声音。然而我个人却觉得,如果更广更远的声音,会让这张专辑更美一些。

Lunar Clock
Author: Lunar Clock