Thee More Shallows

最適合不過(guò)的Headphone music。溫柔中帶著些許憂郁，電子與小提琴，圓號(hào)，鋼琴的美妙結(jié)合，精致而親切，沒(méi)有許多試驗(yàn)音樂(lè)那樣的距離感。旋律并沒(méi)有那種大氣的美，但總是會(huì)被許多細(xì)節(jié)在不經(jīng)意間觸動(dòng)心弦。唱片的編排似乎是完全沒(méi)有規(guī)則的。Post-Present被放了在Pre-Present前面，而兩段Int則被放在了中后部，但這種支離破碎的感覺(jué)卻與音樂(lè)本身的精致非常契合，就像一個(gè)氣泡，前一秒還占據(jù)著整個(gè)空間，一秒后就消失的無(wú)影無(wú)蹤了。

Formed in San Francisco in 2001 when Michigan transplant Dee Kesler, North Carolina native Brian Fraser, and Californian Jason Gonzales met at a concert, Thee More Shallows (originally called simply Thee Shallows, a name they had to change when another group sent them a cease-and-desist order) wrote and recorded their debut, 2002's A History of Sport Fishing -- Fraser and Gonzales played the drums, bass, keyboards, and added in samples, and Kesler did everything else -- in rented studio space during a two-week period. For their second effort, however, they were able to build their own studio, which gave them more time to edit and tweak the songs. So much time, in fact, that it took almost three years to finish More Deep Cuts, an album that was finally released in 2005. The following year the EP Monkey vs. Shark appeared, which featured a remix by Odd Nosdam (Kesler had shown up on the producer's 2005 album, Burner), and soon Thee More Shallows had signed to Anticon, the label that issued their third full-length, Book of Bad Breaks, a decidedly less shoegazey record, in the spring of 2007.