简介： 最适合不过的Headphone music。温柔中带着些许忧郁，电子与小提琴，圆号，钢琴的美妙结合，精致而亲切，没有许多试验音乐那样的距离感。旋律并没有那种大气的美，但总是会被许多细节在不经意间触动心弦。唱片的编排似乎是完全没有规则的。Post-Present被放了在Pre-Pr 更多>
最适合不过的Headphone music。温柔中带着些许忧郁，电子与小提琴，圆号，钢琴的美妙结合，精致而亲切，没有许多试验音乐那样的距离感。旋律并没有那种大气的美，但总是会被许多细节在不经意间触动心弦。唱片的编排似乎是完全没有规则的。Post-Present被放了在Pre-Present前面，而两段Int则被放在了中后部，但这种支离破碎的感觉却与音乐本身的精致非常契合，就像一个气泡，前一秒还占据着整个空间，一秒后就消失的无影无踪了。
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.
