Dangerous and Moving专辑介绍
在成为国际媒体追逐的焦点三年后(说实话, 谁不喜欢关注和八卦热辣的俄罗斯校园拉拉), t.A.t.U.在2005年带着她们的第二张唱片Dangerous and Moving回归,就如Tommy Duncan所唱的, 时间确实改变了一切, t.A.t.U. 在度过了三年闪光灯下的生活后, 不仅与Svengali分道扬镳, 更令人震惊的是, 她们公开表示: 她们压根不是拉拉! 事实上, Julia Volkova已有了一个孩子, 完全打破了之前被Svengali大肆宣扬精心包装的整个校园拉拉幻想.
所以, t.A.t.U.决定听自己的, 在第二张唱片中成熟起来, 没有什么比抛弃格子短裙, 请Sting弹贝斯助阵更能说明这种成熟了, 同时她们还请了Richard Carpenter负责 string arrangement, 两位知名音乐人的出现, 预示了这会是张与200 km/h in the Wrong Lane不同的概念的唱片? 某种程度上说: 是的, 但并不完全. 她们加入了更多的ballad, Eurotrash 指数也不低, 而且, 最值得一提的,她们的声音并没有经电脑处理而变得更高更细. 但这些细微的变化无法使这对艺人的音乐改变太多: 她们仍旧是cold, crass, clinical的舞曲流行, 两个ciphers带着她们单薄, 笨拙的声音, 营造了这一切. 上次, 她们在单曲Not Gonna Get Us中用反复不断的us开始整张唱片(这次则是All About Us), 之后她们就一直循环那程式, 直至专辑结束.
随着Dangerous and Moving开场, icy digital sheen在专辑里再次出现, 从第二首开始, 无聊的女声占据着大部分时间. 单调的节奏, 枯燥的, 基本听一遍就忘的曲子, 既不会唱, 对唱片也没有控制力的两女生, 毫无风格可言, 最重要的, 连Fun也不再存在，Dangerous and Moving几乎就是最烂流行音乐的范本，甚至典型化她们的作品比倾听更有意义. 鉴于她们已不再是当年的校园拉拉, 典型化或是讨论她们的作品也不再有什么乐趣可言 , 失去了百合的诱惑, t.A.t.U.存在的理由都令人置疑.
Three years after they were an international media sensation — hey, who doesn't like talking about and looking at Russian lesbian schoolgirls? — t.A.t.U. returned in 2005 with their second album, Dangerous and Moving. As Tommy Duncan sang, time does indeed change everything, and t.A.t.U. had a turbulent three years, separating from the Svengali manager and, most shocking of all, revealing that they weren't lesbians at all! In fact, Julia Volkova actually had a child, which kind of punctured the whole schoolgirl lesbian fantasy that had been pushed by the dearly departed manager in the first place. So, free to be themselves, t.A.t.U. decided to grow up for their second album — and nothing says maturity like ditching the short plaid skirts and bringing in Sting to play bass for a track, while hiring Richard Carpenter for a string arrangement for another. The presence of these two middlebrow titans may suggest that Dangerous and Moving sounds different than their debut, 200 km/h in the Wrong Lane, and while that's true to a certain extent, it's also misleading. Yes, there are a couple more ballads here, the Eurotrash quotient isn't quite so trashy (yet it's every bit as Euro), and, best of all, the girls' voices aren't run through the computer compressor that makes them sound as high and shrill as a drill. But all these little changes don't alter the duo's music much at all: they still make cold, crass, clinical dance-pop sung by two ciphers with thin, awkward voices. Like last time, they have one single with an insistent, repetitive hook built around the word "us" that opens the album (last time it was "Not Gonna Get Us," it's now the soundalike "All About Us"), and then they recycle that sound to staggeringly diminished returns for the remainder of the record. As Dangerous and Moving wears on — hell, by the second track — the icy digital sheen of the production starts to grate nearly as bad as the flat, bored vocals of the girls. Since the beats are monotonous, since the songs are insipid and forgettable, since the girls not only can't sing but have no on-record charisma, since there's no sense of style and, most importantly, sense of fun to this whole enterprise, Dangerous and Moving is the worst kind of pop music: the kind that is better to theorize about than to listen to. And now that they're not hot lesbian schoolgirls anymore, it's not even that much fun to theorize and argue about, since without the sapphic gimmick, t.A.t.U. simply doesn't have a reason to exist.