从一开始,吉米LaValle大碟的叶子项目最镇静的独立摇滚行为。在蔚蓝再次证明了,作为它的前身是2004年,那这张专辑树叶是也成为行为tamest独立摇滚。LaValle是一个音乐的工匠,他的作品是经过深思熟虑的、经济的和暖和的(大多数的记录,他一个人了。像Sigur Ros,他的工作室和弦乐部分他已经习惯在过去,LaValle的权势无言的设置、响和弦,及提取的那些和弦到正确的长度或移动之后再重复。这些元素都可以导致了一个很棒的记录,但在蔚蓝又不是很好,甚至很好。当环境音乐与相对标准打击已经独立音乐的中流砥柱Eno黑色的狗Sigur Ros自己,那些都超越了它有什么有趣的事情上,比如Eno的旋律感,黑狗不食人间烟火的影响或Sigur Ros的奇特的仪表和建筑使用的动态变化。以LaValle周围的音乐并不特别导流;他宽广的、熟悉的旋律,他bar-band-formulaic鼓编程是平淡无奇,这里还适用于他的同胞,特拉维夫的一家约书亚Eustis),他的声音被压抑,辞职了。大多数在蔚蓝又是仪器,它还可作为背景音乐-永远不会伸出,漂浮着听众-但是不像他早期的录音,几乎是没有在这里,近听奖励。 　　Into the Blue Again依旧是属於The Album Leaf 流畅明亮的通俗乐章。继上张专辑远赴冰岛，与Sigur Rós和Mūm合作，这次专辑找来足以与Warp厂牌抗衡的英国IDM双人组Telefon Tel Aviv之一的Josh Eutis跨刀，参与鼓机编曲、后製和选曲；The Album Leaf的长期合作伙伴The Black Heart Procession，团员各司其职地担任器乐演奏，主唱Pall Jenkins为专辑献声数首，将阴沈民谣融化为充满思念的梦幻花草，「Always for You」、「Writing on the Wall」、「Wherever I Go」是痴情郎只有为你的情人物语；专辑中当然少不了Album Leaf的招牌向日葵喧暖，软语温润的「Shine」、「Into the Sea」是弦乐、keyboard与铁琴合成电子的完美模样，像加了微量糖水的柠檬汁；「The Lights」、「Wishful Thinking」则是带你远离都市红尘的透明翅膀；「Red-Eye」是专辑中的高潮，忽明忽灭的keyboard与不慍不火的大气氛围，温吞而富含力道，彷彿垫著脚尖的高速鼓机非常微妙，彰显了前后层次的趣味，是简单清爽的IDM佳作。 　　 　　以萧邦乐章为名的The AlbumLeaf，以古典乐背景遇上后摇滚的解构手法，再再激盪出风格独具的绝美专辑，每张作品都带来全新气息，而唯一不变的是温和内蕴的美好旋律。Into the Blue Again是童话故事漂亮不俗的精緻旋律？是游乐园里热情轻盈的圆舞曲？还是天使般灵秀诗意的咏嘆？就留给您慢慢品味 　　 　　From the beginning, Jimmy LaValle's Album Leaf project was one of the calmest acts in indie rock. Into the Blue Again proves, as its 2004 predecessor did as well, that the Album Leaf is also becoming one of the tamest acts in indie rock. LaValle is a musical craftsman, and his productions are thoughtful, economical and warm (most of the record was performed by him alone). Like Sigur Rós, whose studio and string section he's used in the past, LaValle understands the power of muted arrangements, of ringing chords, and of drawing out those chords to exactly the right length before repeating them or moving on. These elements could have easily resulted in a great record, but Into the Blue Again isn't great, or even very good. While ambient music with relatively straight-ahead percussion has been a mainstay of indie music from Eno to Black Dog to Sigur Rós themselves, those who have excelled with it have had something interesting to focus on, such as Eno's melodic sense, Black Dog's otherworldly effects, or Sigur Rós' unorthodox instrumentation and use of building dynamics. LaValle's take on ambient music isn't particularly diverting; his melodies are broad and familiar, his drum programming is bland and bar-band-formulaic (that applies also to his compatriot here, Telefon Tel Aviv's Joshua Eustis), and his vocals are depressive and resigned. Most of Into the Blue Again is instrumental, and it serves well as background music — never sticking out, floating by the listener — but unlike his earlier recordings, there's little here that rewards close listening.