| 词条 | Strange Tourist |
| 释义 |
| name = Strange Tourist | type = Album | artist = Gareth Liddiard | cover = File:Strange_tourist.jpg | alt = | released = October 1, 2010 | recorded = "Winter of MMX" | venue = Blackburn Castle (New South Wales) | studio = | genre = *Contemporary folk
| length = 67:32 | label = *Shock Records (2010)
| producer = *Burke Reid
| prev_title = | prev_year = | next_title = | next_year = }}Strange Tourist is the debut studio album from Gareth Liddiard of The Drones. Released in late 2010, the album consists entirely of Liddiard's acoustic guitar-playing and singing, with lyrics that are predominantly narrative.[1][2] ContentStyleDaniel Baker of The Quietus described the album as "a deceptive subversion of rockist dogma." He describes the tracks as "sprawling venom inflected dioramas existent in their own haunted ecology."[1] "With his first solo album," wrote Bernard Zuel of Sydney Morning Herald, "Liddiard puts aside the physical presence of the Drones, forgoing that capacity for movement as well as variation in favour of none-more-bare presentations of voice and guitar. These are in effect spoken-word pieces with minimalist backing or, given their lyricism and focus, books on tape "read" by a man whose nasally, insistent voice is never going to be mistaken for that of a choir boy."[2] Tim Dunlop of Crikey characterized it as "dark and grinding [...] Strange Tourist consists of [...] long songs with clever lyrics documenting the political and the personal."[3] "Liddiard's characters and their world are invoked with such eye for nuance and detail [...]" writes Zuel, "that you feel covered in the tangy sweat of fear or frozen in the same miasma of indecision and enervation as his protagonists."[2] Liddiard's vocals have been described as a "snarling Ocka drawl [...] He sings with a half-spoken, often crowded cadence, elongating or truncating words and hinting at hidden meanings through sudden flights of possessed semi-wails. While the music remains crystalline and austere in its unhurried strums and cliff edge teetering, Liddiard's voice is capable of a more satisfying versatility".[1] SongsThe track "Blondin Makes an Omelette" is "an existential rumination on the nature of the public's adoration for Charles Blondin, [...] [w]ritten from the perspective of his faithful assistant". It has been described as an "an often ambiguous interpretation of the psychology of those who gawk at risk takers [...] [j]ust enough information is withheld yet it's tenderly methodical and filled with enough pathos for it not to collapse under the weight of didacticism."[1] Zuel notes a "carny bitterness" in the track.[2] "You Sure Ain't Mine Now" shows "Liddiard's voice [as being] capable of a more satisfying versatility [...] during which he delivers the refrain in a canine falsetto."[1] The "arresting" title track features "fizzing rough hewn picking and yearningly apocalyptic imagery" and has been singled out as being the closest to Liddiard's work with The Drones. The lyrics describe "one man's experiences with destitution, smack, war, arrest and Scientology"[1] whilst the track itself has been described as "Stilnox-and-speed-jacked".[2] "The Collaborator" highlights the albums "once removed, personalized microcosms of anger [...] with a brusque politicisation" where the "lurking paranoia of [a] wartime populous attempting to unearth evidence of those who aided the invaders, accusations and defensive rebuttals crowed back and forth" is "carried along by Liddiard's flinty, nasal declamations."[1] The lyrics are set in France 1941 and explores the "explores decidedly non-pop territory of accommodation and justification, of guilt and evasion and anger".[2] "Did She Scare All Your Friends Away" is "not much less intense [...] weakness is paramount in a man who had "retired into a well of sweet vermouth", a rorting defence lawyer who's a "liberating angel with a clothes peg on his nose" or the narrator, whose explanations are rough and double-edged."[2] The final track, "The Radicalisation of D" is based on the life of David Hicks with several details from Liddiard's own childhood. It has been called "a superbly engaging quarter of an hour" and "the album's magnum opus".[4] "The grim horror of what is about to unfold," writes Parker, "[is] humanized implicitly by Liddiard's unhurried use of authentic Australian motifs (hills hoists, ging's). It's a piece of songwriting that genuinely attempts to understand why some people become susceptible to extremism. More uncompromisingly, it suggests that they may have a point."[1] "[T]he vast expanse of the" song's "perspective on a home-grown terrorist burns you."[2] Manish Agarwal of Mojo finds "Liddiard's screeds demand[s]" of "the listener's full attention" to be rewarded "most notably" on this track, which he describes as "feel[ing] all too real".[5] ReleaseThe album was released on CD through Shock Records in 2010,[20] and on both CD and double LP through ATP Recordings in 2011.[6][7] The latter label released the album in the UK. In 2017, Poison City Records reissued the album as a double LP.[8] A video was made for the title track and released on YouTube through ATP Recordings' channel.[9] Reception{{Album reviews|rev1=The Quietus |rev1score=favorable[1] |rev2=Sydney Morning Herald |rev2score=very favorable[2] |rev3=Mojo |rev3score={{rating|4|5}}[10] |rev5=Rolling Stone |rev5score={{rating|4|5}}[11] |rev6=The Age |rev6score=very favorable[29] }} NationalThe album was acclaimed by many Australian critics. The Age, naming it their "Album of the Month", compared Liddiard to Paul Kelly and Don Walker and called the album "really exceptional".[12] Rolling Stone Australia called the album his "bleak solo masterpiece" and compared it to a Cormac McCarthy novel in that it "lingers long after the final note has been played".[11] Sydney Morning Herald called the album "compelling" and "[s]omething very special."[2] Conversely, an article by Richard Guilliatt for The Monthly criticizing the modern "troubadour" songwriter (other examples included Will Oldham, Bill Callahan and Keaton Henson) picked the reception to the album as an example of the "unseemly [,] [...] profligate doling out of four-star reviews by rock critics, who, as a breed, are notoriously susceptible to any songwriter who brings a whiff of literary cred to their disreputable world." He uses "The Radicalisation of D" as an example, writing: "it doesn’t actually have a chorus, or a tune to speak of. In an earlier era, some porcine record exec would no doubt have demanded that Liddiard go back and write a couple of songs for FM radio. I’m beginning to miss those days."[4] InternationalThe album also received very positive reviews from critics in Europe, where it was released in the UK through ATP Recordings. Mojo called the album "[s]uperlative", writing that it "reveals [...][The Drone's] distinctively accented singer/guitarist [to be] just as potent in acoustic settings".[5] The Quietus writes that despite the album not being "totally immersive" (citing the track "Did She Scare All Your Friends Away" as "cumbersome") and that the record "requires patience, demands concentration", the "mercurial" and "magnificent" "The Radicalisation of D" "more than justifies those efforts."[1] John Payne of Bluefat called the album "a dangerous thing, an opinionated and self-centered and generous thing, of course quite angry and rather despairing and for all that: exhilarating!"[13] A featured "reader review" on The Guardian reads: "If you can imagine a Lucian Freud portrait as a song you are beginning to understand the scope of his artistic ambition. There is no bombast here, no posturing on the highest available moral ground, no anthemic declarations of politically correct views. What there is, in abundance, is imagination, both musical and lyrical."[14] AwardsThe album earned Liddiard a nomination for an ARIA Award for Best Male Artist at the 25th ARIA Music Awards.[15] In response to the nomination, Liddiard stated: "It's just for wankers, snorting coke and getting drunk. It's just not on my radar and I'm just not interested. The ARIAs don't really mean anything to me."[16] Track listing{{Track listing| all_writing = Gareth Liddiard | title1 = Blondin Makes an Omelette | length1 = 4:52 | title2 = Highplains Mailman | length2 = 8:22 | title3 = Strange Tourist | length3 = 7:24 | title4 = You Sure Ain't Mine Now | length4 = 9:24 | title5 = The Collaborator | length5 = 4:59 | title6 = Did She Scare All Your Friends Away | length6 = 9:48 | title7 = She's My Favourite | length7 = 6:31 | title8 = The Radicalisation of D | length8 = 16:12 | total_length = 67:32 }} Personnel
Additional creditsAdapted from Discogs:[17]
References1. ^1 2 3 4 5 6 7 8 9 {{cite web|url=https://thequietus.com/articles/05594-gareth-liddiard-strange-tourist-review|title=The Quietus – Reviews – Gareth Liddiard|website=The Quietus}} 2. ^1 2 3 4 5 6 7 8 9 {{cite web|url=https://www.smh.com.au/entertainment/music/strange-tourist-20101008-16bsj.html|title=Strange Tourist|first=Reviewed by Bernard|last=Zuel|date=October 8, 2010|website=The Sydney Morning Herald}} 3. ^{{cite web|url=https://www.crikey.com.au/2010/11/05/album-review-gareth-liddiard-strange-tourist-dark-and-grinding/|title=Gareth Liddiard, Strange Tourist – dark and grinding|date=November 5, 2010|website=Crikey}} 4. ^1 {{cite web|url=https://www.themonthly.com.au/issue/2012/june/1343260101/richard-guilliatt/sensitive-souls|title=Sensitive Souls|last=developer@themonthly.com.au|date=June 1, 2012|website=The Monthly}} 5. ^1 6. ^{{cite web|url=https://www.discogs.com/Gareth-Liddiard-Strange-Tourist/release/2844049|title=Gareth Liddiard – Strange Tourist|publisher=discogs}} 7. ^{{cite web|url=https://www.discogs.com/Gareth-Liddiard-Strange-Tourist/release/3846468|title=Gareth Liddiard – Strange Tourist|publisher=discogs}} 8. ^{{cite web|url=https://www.discogs.com/Gareth-Liddiard-Strange-Tourist/release/11293608|title=Gareth Liddiard – Strange Tourist|publisher=discogs}} 9. ^{{cite web|url=https://www.atpfestival.com/recordings/artist/garethliddiard/video/view/52|title=Videos – Gareth Liddiard|website=All Tomorrow's Parties}} 10. ^ 11. ^1 12. ^1 13. ^ 14. ^{{cite web|url=https://www.theguardian.com/music/musicblog/2012/aug/20/readers-reviews-def-leppard|title=Readers' reviews: Def Leppard, Stephan Nance and Gareth Liddiard|first=Guardian|last=readers|date=August 20, 2012|work=The Guardian}} 15. ^[https://www.ariaawards.com.au/history/award/best-male-artist] 16. ^{{cite news|title=Liddiard: Arias a cocaine-filled joke|url=http://www.dailytelegraph.com.au/the-arias-are-a-cocaine-filled-joke-says-musician-gareth-liddiard/story-fn6b3v4f-1226167518775|accessdate=November 8, 2013|newspaper=The Telegraph|date=October 16, 2011|author=Jonathon Moran|author2=Zoe Nauman}} 17. ^1 {{Cite web|url=https://www.discogs.com/Gareth-Liddiard-Strange-Tourist/release/2514067|title=Gareth Liddiard – Strange Tourist|publisher=discogs|access-date=17 March 2019}} 2 : 2010 albums|2010 in Australian music |
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