The very deceptive title I'm Happy, and I'm Singing, and a 1, 2, 3, 4 hides one of the most beautiful albums of understated music that 2001 had to offer. The complete opposite of Insignificance, released only a couple of months earlier, this opus finds O'Rourke alone, sitting in front of his laptop. In 40 minutes and three tracks, he shatters tons of preconceptions about his persona and art. These long pieces (ten, ten, and 20 minutes) shimmer softly and stretch slowly, reaching deep inside you to plant delicate sounds. The last piece (it would have to be "And a 1, 2, 3, 4"), with its treated string sounds, feels close to Koji Asano's calmest moments, but also brings to mind Phill Niblock (the minimalist intention) and Oren Ambarchi (the fragility and melancholia). The first track focuses more on repetitive cycles, while the second is structured like a song and features a wider sound palette -- the only concession made to a more conventional form of expression. This album is not about glitch electronica and the coldness of machines, but is a surprisingly intimate journey, seductive and more fascinating with every additional listen.?

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I'm Happy, and I'm Singing, and a 1,2,3,4 [live]

歌手：Jim O'Rourke歌曲

發(fā)行公司：

歌曲數(shù)量：2

發(fā)行時(shí)間：2001-12-01 00:00:00

I'm Happy, and I'm Singing, and a 1,2,3,4 [live]

專(zhuān)輯簡(jiǎn)介：

The very deceptive title I'm Happy, and I'm Singing, and a 1, 2, 3, 4 hides one of the most beau更多>

The very deceptive title I'm Happy, and I'm Singing, and a 1, 2, 3, 4 hides one of the most beautiful albums of understated music that 2001 had to offer. The complete opposite of Insignificance, released only a couple of months earlier, this opus finds O'Rourke alone, sitting in front of his laptop. In 40 minutes and three tracks, he shatters tons of preconceptions about his persona and art. These long pieces (ten, ten, and 20 minutes) shimmer softly and stretch slowly, reaching deep inside you to plant delicate sounds. The last piece (it would have to be "And a 1, 2, 3, 4"), with its treated string sounds, feels close to Koji Asano's calmest moments, but also brings to mind Phill Niblock (the minimalist intention) and Oren Ambarchi (the fragility and melancholia). The first track focuses more on repetitive cycles, while the second is structured like a song and features a wider sound palette -- the only concession made to a more conventional form of expression. This album is not about glitch electronica and the coldness of machines, but is a surprisingly intimate journey, seductive and more fascinating with every additional listen.?