마법 같은 치유의 '멜랑꼴리'로의 초대 Bellman Mainly Mute 앨범


Review/노래리뷰 2011.11.03 12:49





이번에 나온 Bellman 의 해외타이틀 <Mainly Mute>, 올 해의 대표적인 가을앨범이 나왔습니다!



위는 타이틀 곡인 Spaceship, Move Slow 입니다. 벨멘은 노르웨이 라르빅 출신으로 우리나라 포크음악을 떠올리는 스타일의 뮤지션입니다. 목소리가 너무 감미롭습니다. 최근 일렉과 전자음으로 충만한 음악 사이에서, 무엇보다 여유로운 음악으로 가을에 낙엽이 지는 거리를 드라이브 하면서 들으면 제맛인 이번 앨범

 

저는 건강한 리뷰문화를 만들기 위한 그린리뷰 캠페인에 참여하고 있습니다.

 앨범커버에 대해서도 이야기를 하자면, 노르웨이가 워낙 추운 나라인데, 따뜻한 느낌을 주려 혹은 음악과의 느낌도 잘맞아들어가는 빨간 노을이 아닌 노란 노을로 앨범 쟈켓을 만들었다 생각됩니다. 벨멘은 노르웨이 라디오 방송국에서 아마추어 뮤지션의 데모 선발대회에서 2등을 차지하며 이번 앨범까지 오게 되었습니다. 

 그의 앨범 1번 트랙부터 끝까지 들어보며 굉장히 자기 주관이 뚜렷한 뮤지션이라는 게 느껴집니다. 타이틀곡을 들으면 다른 트랙에 대해서도 굉장히 호기심이 일거란 생각이 드네요. 조금은 몽환적인 느낌에 그의 앨범을 들으면서 포크음악과 동시에 감미로운 Nell 같다는 생각 또한 들었습니다. 몽환적이고 질리지 않는 음색이 벨멘의 앨범을 더욱 빛내는 듯 합니다.

이번 앨범의 쟈켓을 보면 속지로 성문영님의 글과 같이 한글로 번역해놓은 가사가 있어 이 앨범에 대해 깊이 이해할 수 있었는데, 여러분이 들은 위 타이틀곡의 가사 중 몇구절을 인용해보면,
 '그녀의 얼굴에 자리잡은 두려움의 언어들, 날 따르세요 당신의 꿈속으로 다시금'

멜로디와 가사도 정말 잘 어울린다는 생각또한 드네요. 서정적인 멜랑꼴리, 그리고 한국인의 감성에도 잘맞는 벨멘의 이번 앨범 Mainly Mute 리뷰 였습니다.

<Bell Man 의 인터뷰내용>

Bellman: Mainly Mute

-I like to think of my songs as sculptures, says Bellman, the new enchanting voice of Norwegian post-rock/chamber pop. -I often find that I relate to music in a three-dimensional way. I try to build the songs around me, like a physical entity that grows to fill the room.

    Bellman, or Arne Johan Rauan as he is really called, takes the time to talk to MIC between soundcheck and the release concert in conjunction with his record debut Mainly Mute.

    -The soundcheck was perfect; I think it will be a great concert. I’m really dying to play in front of the audience later on. We have been waiting a long time for this.

    In addition to Bellman himself on acoustic guitar and vocal the band consists of six people; the regular bass, drums, guitar and keys line-up augmented with strings. But the strings are not just brought in for the release show; they are an integral part of the music.

    -To a large degree the songs were written with strings in mind, says Bellman. Sometimes we play in a smaller format, but the formula we’ve found includes strings as an essential part of the sound. Many facets and layers, and a potential for richness, allows us to hold back and achieve the restrained expression we’re after.

    Hearing Bellman’s music one can readily understand his own description of standing in the middle of a tune and forming it by positioning the different elements around him, letting the sound subtly grow into a sculpture, an aural figure distinguished by understatement and allusion rather than bold definition.

    The notion of the understated and keeping a lid on the musical forces at play seems to be an essential trait of your music. Is this a general aesthetic or something particular to this record?

    -I believe in the understated and the controlled in all circumstances really, says Bellman. I just find it more interesting to outline potential than to fully realize and exhaust it. I cherish the feeling that something is unrealized, and the tension generated when something is smouldering rather than burning. Sometimes we get pretty close to some kind of climax in our songs, but mostly we only hint at it and we try to let this smouldering expectancy and the sort of projection that an outline implies remain a kind of hidden force in our music.

    So this principle is the explanation of the album title then, Mainly Mute referring to a reservoir; something not unfolded and unleashed?

    -You could say that, even if the title is not meant to explain anything. But it is inspired by the same general idea; the unpronounced, which is controlled aBellman 2009 (photo: Line Loholt Levinsen)nd smouldering.


    How does this stance manifest in the relation between playing live and working in the studio?


    -Right now I’m just thrilled to be able to play live. Like I said I really think we have found the perfect formula and putting it to work live is really a wonderful experience. Our time in the studio was long and arduous. We had a lot of fun, but there were setbacks underway and it took a lot longer than I expected. I think the process was ultimately necessary and fruitful though. It simply took a long time to find the right sound and the right way of piloting the songs so to speak. But now that we’re past that I just feel great relief and joy about moving onto the stage and making it all work in front of an audience.

    The most conspicuous part of your sound, or the musical sculpture of your songs, as it were, is your voice. The high almost angelic tone of it has caused many people to compare you to Thom Yorke or Anthony Hogarty. Have you always been conscious of your voice as such a characteristic instrument? Is it something you have developed intentionally?

    -In previous projects I used my voice in a different way. Changing the way I sing was never an issue in its own right, it had more to do with the music. These songs seemed to ask for a high and gentle voice, so it was a kind of symbiosis I guess, something that grew forth naturally, not as a fixed idea. But I was surprised that singing so high came quite effortlessly. It just suits me.

    What about the lyrics; do you feel that a conspicuous voice puts more focus on the words? How important are the lyrics to the entirety?

    I always start with the music. An atmosphere will develop and then I find that the words have a tendency to lend themselves naturally. I’m not a storyteller really; I like the lyrical content to be a little veiled. There is always a story in the background somewhere, but I guess I prefer disguising it so that people can ponder themselves.

    Bellman admits that all the comparisons to other singers with similar voices often seem a little simplistic.

    -It’s understandable of course, but not always so enlightening. Similar voices do not entail similar artistic objectives. For me other artistic expressions than music mean just as much in terms of inspiration. I draw on film and art and I really enjoy the contrast between physical expressions, like sculpture, and music. I think I will always want to work with physical expressions in addition to music; to me at least this combination and contrast is very fruitful.

    After the release in Oslo a tour of Norway awaits later in the winter. And then the record will be released in Denmark in March.

    -We’ve said from the start that we wanted to have explore opportunities outside Norway, and Denmark is a good place to start I think. Now everything works so well, and the whole apparatus around us is just right, everyone is singing in unison. So I’m looking forward to busy times.

    <출처 - http://www.listento.no/mic.nsf/doc/art2009012210373730842755>

     





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