keren ann

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keren ann

2008-03-05 09:19:56　　 huieeyy

I wanna。
Lay my head down 。In your arms。keren ann

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我要的爱情非黑即白，只有接受与拒绝，爱与不爱。就像硬币的两个面。
（一）选择
在我认识你的那一天下午，我用硬币做了个小占卜。我默默许下心愿：“图案是你喜欢我；字是你不喜欢我。希望是图案吧！”我满怀希望把硬币掷向上空。落地了，是字。这次不算。一而再再而三，还是字。气得我把硬币砸到地上，硬币旋转了好几圈，停下了。这一次图案那面朝上。我欣喜若狂：“这次算数！”
（二）恋爱
我们相爱了。在交往的一周年那天。你拿出一个游戏币，说要用它来占卜一下我们的将来。一面是游戏人物的样子，你说图案表示我们能结伴走到时间的尽头；另一面是游戏室的名字，你说字这边表示我们会分开。我忍不住闭上眼睛默默祈祷“主，让硬币停在图案那一面吧！”硬币被抛到了半空，美美地转了好几圈。你“啪”地把它接在你的掌心里。一打开，图案朝上。我欣喜万分，你却露出了狡猾的笑容。我疑惑，一细看，惊叫：“怎么不像刚才你给我看的那个图案？”
“有关系吗？”你笑了：“只要是图案出现，我们就能天长地久啊！”我突然抢过你手中的硬币。你措手不及。我才发现这枚硬币两面都是同样的，都是图案。我笑着突击你的口袋，摸到了刚才你给我看的那枚硬币。亲爱的。
（三）分手
你和我坐在了那间咖啡馆，那个我们常坐的角落。新装修过的咖啡馆人事已非，松软破旧的沙发和欢快的吉他音乐变成了冰冷的实木椅子和忧郁的Keren Ann的音乐。你表情很淡漠。我透过你肩膀看到时钟的分针一格格的移动。时间在我们身边静静流淌。除了沉默还是沉默。这是为什么啊，亲爱的？！我一大碗咖啡牛奶喝剩了三分之一，还去了三趟洗手间，你怎么还不说话。我是在无法忍受。在洗手间我发了一条短讯给你“你为什么不说话？”
我看见，你面前这杯咖啡一点都没有动过，这是你最爱的曼特宁啊！现在这杯咖啡如今是这样的冰凉而难以下咽了，如同我们的爱情。我坐下，我的眼睛在找你的眼睛，希望找到以前你眼里的我。为什么你的眼神总在逃避？
“嗯……”你终于开口了“我们分手吧。我爱上别人了。”
我努力控制着自己的眼泪，捧起那碗咖啡牛奶咕嘟咕嘟地喝，味道变了，很咸。我听到你撕开纸巾包装的声音。
“就这样吧！”你轻轻握了一下我的手臂，叫了一声结帐，丢下钱便离开了。我透过泪水迷蒙了的双眼看见你的背影很模糊。我轻轻的揉着眼睛。装作隐形眼睛弄得我的眼睛很不舒服的样子。我不想给别人看见。
服务员这是把要找的零钱送来。一个硬币。字是你还喜欢我；图案不是。我学你一样把硬币抛起来，但是我接不住。硬币滚到了桌子上，再掉到地上，正好停在我的脚边。图案静静朝上躺在地上。是真的。

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我的歌曲

2007-09-28 23:59:19　　 jonathan

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习惯

2007-08-01 19:47:32　　 tangocake

Keren Ann
Suicide is Painless

Listen Now

下载链接：http://dydz0109.wx-e.com/sc.mp3

有那么一天，
男生问：［你喜欢我么？］
我说不。
男生说：［可我喜欢你。］
我无语。
路总是。
越走越远。

然后我现在仍然是看ＢＬ会看哭泣的亲妈。
过着我辗转反侧的生活。
我已经没有勇气再对一个男生说我喜欢你。
喜欢都是少年意气的事，我还年少，可我已经不是少年。

有时候觉得这样的生活很不错，我已经习惯一个人发呆，一个人寂寞。
尽管很多人都说你应该这样做，你这样会得到什么，你这样会快乐，然而对和错谁也不知道。
我开始习惯，习惯不和任何人说话。

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换旧ing

2007-06-29 23:33:02　　 Vivianご

骨子里其实一直都是个迷恋欧美音乐的人...

有点好笑的是第一次接触欧美音乐(实际上也是第一次接触音乐)是从Britney Spears开始的...到后来的Westlife,Celine Dion,Aaron Carter,Ronan...

进入青春叛逆期又疯狂热爱Avril Lavigne,norah Jones,Keren Ann,
Coldplay,Pink...

也不知道是什么时候开始被周围人深深影响...也开始听国语歌...一度好像不再怎么接触欧美乐坛...眼见Billboard上出现越来越多陌生的名字...

今晚又不知怎么,着了魔似的搜那些曾经那么熟悉的名字...Lynn Marlin,Sheryl Crow...也惊喜地回忆起Nelly Furtado...

都是很老的名字了...在欧美乐坛有些可能真的沉寂了多年.可他们在我的青春岁月里,曾扮演过很重要的角色.

不.可.磨.灭.

我终于知道原来我从来没有忘记过他们,他们一直都在,以无可取代的姿态存在.

值得纪念的一晚阿,感觉真好.

___by Vivian

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Expanded sonic palette, focused songs on

2007-05-22 15:41:56　　 tanya

　　Expanded sonic palette, focused songs on 'Keren Ann'
　　By Philip Shelley
　　May 8, 2007
　　
　　Keren Ann
　　 Keren Ann
　　 Blue Note
　　 The singer-songwriter Keren Ann Zeidel was born in Tel Aviv to Israeli-Dutch parents, and grew up in Paris, where she still keeps a flat. (She also spends time in New York and Israel.) Starting in 2000, she released two albums in France (recorded with producer Benjamin Biolay), but it wasn't until her first English-language album, the folky, jazz-tinged "Not Going Anywhere" (2003), that she made her first impression on American audiences.
　　 But what a first impression. To connoisseurs of a certain kind of wistful sadness, "Not Going Anywhere" was a quiet revelation. Exhibiting a genuinely poetic economy, Miss Zeidel's deceptively understated compositions proved to be marvels of simplicity and structural integrity. On self-contained little gems like "By the Cathedral" and "Not Going Anywhere," lyrics, melody, chords and singing worked together in seamless unity to evoke recurrent themes of surrender, loss, loneliness and dislocation. Building on that foundation, the dark and smoldering follow-up "Nolita" saw the singer adding just enough of a lurid neon glow to her arrangements (electric guitar drones, feedback and arpeggios) to illuminate the vicious urban undertow running through her music -- something that was only hinted at on the previous album. Now, with "Keren Ann," her self-produced, eponymous new CD, Miss Zeidel has taken the logical next step, evincing a heightened interest (and perhaps a greater comfort) in the recording studio itself, using instrumental textures to create unsettling, dreamlike soundscapes.
　　 Aesthetically, "Keren Ann" is all about the undertow. Eclectically stretching the songs like so much sonic taffy, she calls upon skronky guitar, synthesizers, strings, hand claps, horns, harmonica and heavenly choirs to both complement and subvert their basic structures.
　　 "It's All a Lie," with its wispy reverb and grimy guitar chords, sets the tone. You wait for the elements to coalesce and the song to properly kick in, but instead the opposite happens -- as the song progresses it gradually falls apart, disintegrating further into noise and finally silence, as if all the pretty singing in the world could not contain the forces of entropy. Similarly, the deadpan menace of the Weimar nightclub stomp, "It Ain't No Crime," features intentionally distorted vocals and jagged, nervous-breakdown guitars that color way outside the lines.
　　 But Miss Zeidel still knows how to produce moments of shudder-inducing beauty, too. The stately chamber-pop of "In Your Back" teeters between bitterness and devotion toward a lost lover, while the otherworldly "Where No Endings End" is a virtual waltz of the damned, layering strings and echo-laden guitar lines on top of a spare acoustic guitar figure. The epic "Liberty" bobs gently along on a moonlight-rippled ocean of piano, before ascending skyward in the embrace of a celestial choir.
　　 "Liberty" flows directly into the album's closer, "Between the Flatland and the Caspian Sea," presumably a paean to her romantic partner, an Israeli pilot. A bubble-gummy re-creation of an early-'70s Top-40 ambience somewhere between Lee Hazelwood and Helen Reddy that dissolves in an extended psychedelic fadeout, this may be the purest pop song Miss Zeidel has written.
　　 The crucial difference between "Keren Ann" and attempts by less-focused artists to expand their palette of recording techniques is that Miss Zeidel never allows the seductive power of sonic possibilities to lure her away from serving the integrity of her songs. In a world where tails seem to be wagging dogs everywhere you look, that's quite an achievement.

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keren ann

keren ann

硬币爱情

我的歌曲

习惯

换旧ing

Expanded sonic palette, focused songs on