Throwing Muses

樂(lè)隊(duì)Throwing Muses（隨想詩(shī)神），它們歌曲的旋律及編曲聽來(lái)非常清爽，樂(lè)器特別是吉它的演繹頗為精彩，最值得一說(shuō)的是女主唱Kristin Hersh（也許有朋友對(duì)她是比較熟悉的）的聲音，這是一個(gè)爆發(fā)力非常強(qiáng)的嗓音，而其演唱方法沒(méi)有絲毫一點(diǎn)矯情的痕跡，我想把它比作一種發(fā)自內(nèi)心的“優(yōu)美嘶吼”，那是一種并不華麗卻持久力無(wú)窮無(wú)盡的美感。 Throwing Muses由吉他手/主唱Kristin Hersh和她的同母異父姐妹主唱/吉他手Tanya Donelly和一些中學(xué)同學(xué)組建于1983年。在1986年樂(lè)隊(duì)通過(guò)英國(guó)出名的唱片公司發(fā)行了他們的首張同名專輯，Throwing Muses作為4AD中的首只美國(guó)樂(lè)隊(duì)。Throwing Muses的尖銳的，痛苦的，善變的聲音很大程度上取決于Hersh的神經(jīng)質(zhì)（她遭受這極端的痛苦以至于讓她產(chǎn)生幻覺(jué)），特別是在早期的專輯像House Tornado。1991年的The Real Ramona在音樂(lè)上與以往的專輯區(qū)別很大，這張專輯有很多閃光點(diǎn)。兩個(gè)人在歌曲唱作上的分歧最終導(dǎo)致了樂(lè)隊(duì)的分崩離析，Donelly在1992年離開了樂(lè)隊(duì)并與Belly組隊(duì)。那一年Hersh和鼓手David Narcizo重新組隊(duì)命名Muses，并發(fā)行了樂(lè)隊(duì)的第四張專輯，Red Heaven。在那之后，Hersh發(fā)行了個(gè)人獨(dú)奏專輯并開始廣泛的進(jìn)行巡演，給歌迷留下了對(duì)于Muses樂(lè)隊(duì)狀態(tài)的疑惑。1995年，Hersh已經(jīng)Muses中僅存的成員（Narcizo和貝斯手Bernard Georges）發(fā)行了最具野心的唱片University，帶有樂(lè)隊(duì)團(tuán)結(jié)一致共同努力的結(jié)果。1996年緊隨Limbo之后不久，樂(lè)隊(duì)解散的消息就公布于眾，當(dāng)然，Hersh繼續(xù)作為一個(gè)獨(dú)奏藝人出現(xiàn)。1998年，作為樂(lè)隊(duì)稀少的收藏專輯In a Doghouse發(fā)行了。在2000年的春天，Muses由于一個(gè)被稱作Gut的慶典活動(dòng)而再次組合，成員有Hersh, Narcizo, Bernard Georges, 和Robert Rust，Hersh還是繼續(xù)著他的獨(dú)奏。2002年，三個(gè)星期之后，三人重新組合發(fā)行了他們的另一張專輯，Throwing Muses（2003同名專輯），是樂(lè)隊(duì)的巔峰專輯。Donelly作為和聲出現(xiàn)在了專輯的一些歌曲中。 Throwing Muses（遺棄的繆斯）是第一支簽約4AD的美國(guó)樂(lè)隊(duì)，他們也是80年代美國(guó)最為成功的College Rock（校園搖滾）團(tuán)體，因而在他們身上既有那種歐洲大陸的低調(diào)和自戀，又有美利堅(jiān)的張狂與自虐。 而隨想詩(shī)神 Throwing Muses主唱--Kristin Hersh是4AD旗下的繆斯,一個(gè)備受人格分裂癥折磨的精靈。我們可以聽到那曾經(jīng)響徹整個(gè)1990年代的“非主流搖滾之聲”，那種發(fā)端于The Velvet Underground、Patti Smith，由R.E.M.、Nirvana、Sonic Youth發(fā)揚(yáng)光大的另類詩(shī)意搖滾。?
by Heather Phares
One of the quietly great college bands from the 1980s, Throwing Muses was formed in 1983 by guitarist/vocalist Kristin Hersh and her half-sister guitarist/vocalist Tanya Donelly with a few friends from high school. In 1986 the groups debut album was put out by the prestigious British label 4AD; Throwing Muses was the first American band to be released on that label. Throwing Muses angular, anguished, mercurial sound had much to do with Hershs mental illness (she suffered from a form of bipolarity that caused her to hallucinate), especially on early albums like House Tornado. 1991s The Real Ramona marked a break from the heaviness of the previous albums, with lots of shimmery pop gems penned both by Hersh and Donelly, who contributed at least one song per album throughout her stay in the band. Creative tensions between the two songwriters rose until Donelly left in 1992 to play with the Breeders and ultimately form Belly. That year Hersh re-formed the Muses with drummer David Narcizo and released the bands fourth album, Red Heaven. After that, Hersh released a solo album and toured extensively, leaving fans to wonder about the status of the Muses. In 1995, however, Hersh and the rest of the Muses (Narcizo and bassist Bernard Georges) released University, one of the bands most cohesive and accessible efforts. University was followed by Limbo in 1996. The groups dissolution was announced soon after, with Hersh continuing on as a solo artist. In a Doghouse, a collection of rare early Muses material, followed in 1998. In Spring 2000, the Muses reunited for a special event called the Gut Pageant, which featured a set from Hersh, Narcizo, Bernard Georges, and Robert Rust, as well as a solo performance by Hersh, short films by Narcizo, and a picnic lunch hosted by the group. During three weekends in 2002, the trio got together to record another album; released the same day in 2003 as Hershs The Grotto, Throwing Muses (self-titled, just like their debut) was the groups rawest, loudest album. Donelly provided background vocals on some of the songs.