Finally We Are No One

乐队的新专辑给人焕然一新的感觉，从以往的纯音乐演奏过渡到配备人声主唱的Electronica的风格，Green grass of tunnel就是在梦幻般柔美的双主唱人声与弦乐的交融之中，将你带入广袤的宇宙，去寻找，去摸索自己的精神归宿。此外，专辑中还能听到悠扬的大提琴与阴霾的手风琴穿插其中、交相辉映，We have a map of the piano即由多种原声乐器穿插而成，营造出的无数感情交错穿插，其美感犹如在海底睡眠而不会溺水。这是一张60多分钟的专辑，在漫长的演奏过程中，常常用音乐描绘出一幅幅抽象色彩浓重的画面，充分体现了Post Rock的美学特色。Múm's first album for Fat Cat -- by no coincidence, the label that also broke fellow Icelanders Sigur Rós -- has all the majestic synths, crackly drum machine percussion, sampled silence, and crystalline vocals you'd expect from the country that produced Sigur Rós, though with less focus on digital sound than the former and less reliance on drama than the latter. Múm is very interested in the music of sound, but Finally We Are No One never sounds like a difficult record; if it's not the instruments sounding naïve or folksy (in good ways), the lisping, childlike vocals are bound to prompt adjectives like adorable and precious. "Green Grass of Tunnel" has the sweet melancholia, coloring-book hip-hop, and slowly shifting chords of poptronica producers like isan or Boards of Canada. Apart from the hefty title, "Don't Be Afraid, You Have Just Got Your Eyes Closed" approaches mainstream appeal -- briefly, and at several different times -- with a nice dance beat gradually replaced by a beatbox breakdown, toy xylophone, and a nice trumpet melody. Several individual passages of songs strike an evocative chord, like the string quartet, piano, warm synthesizers, and percussion rumblings of "K/Half Noise" combining to recall the quieter portions of Tortoise's landmark "Djed."