David Holmes

小简介
1969年的情人节,「爱尔兰DJ传奇」David Holmes/大卫霍姆斯的诞生昭示了新世纪的到来,电子音乐与古典音乐之间的界线将因他而逐渐模糊…。 15岁开始学习DJ混音、20岁之前是个发型设计师,只有这样生活,才可以让他跟朋友们一直听音乐下去。
’95年的大卫仅以一只在英国发行的《Let’s Slash The Seats..This Film’s Crap》惊艳四座、并被美国影坛大老丹尼狄维托钦点,请他为所属之Jersey电影公司’97年发表的年度大戏「战略高手/Out Of Sight(乔治克隆尼、珍妮佛洛佩兹主演)」之主题曲献艺,＜Let’s Get Killed＞单曲将全戏气氛营造与感觉氛围加分,首度于美国发行之同名专辑亦获娱乐周刊A-佳评并选为同年「年度十大最佳专辑之一」,足见传媒对他的看好与推荐。
大卫所做的音乐深具电影感,除拿手的Ambient、Drum’N’Bass、Trip-hop外,爵士、放克、英式节奏蓝调、拉丁、古典、摇摆(swing)、甚至庞克都是他把玩掌间的音乐元素,Trip-hop堕落天使Tricky’95年首辑《Maxinquaye》中缥缈细致令人魂萦梦牵的优声女伶Martina此番亦为＜Outrun＞、＜Zero Tolerance＞献声。仿若音乐版的「厄夜丛林」- ＜Bad Thing＞则有90年代初Matador厂牌旗下实验团体The Blues Explosion吉他手兼主唱Jon Spencer助阵：间歇浮现的低沉男声与挑逗性的女声背后似乎隐含了莫名的不安鬼祟与诡谲、＜Sick City＞中Drum’N’Bass与Bobby Gillespie歇斯底里的嗓音交揉,都市丛林的速度疾驰拉锯战迅速开展！
by John Bush
David Holmes is the among the best in a growing cadre of invisible-soundtrack producers inspired by the audio verité of classic film composers — Lalo Schifrin, John Barry, Ennio Morricone — as well as the usual stable of dancefloor innovators and a large cast of jazz/soul pioneers to boot. Similar to the work of Howie B, Barry Adamson, and Portisheads Geoff Barrow, Holmes productions are appropriately spacious and theatrical, though usually focused on future club consumption as well. His first album, hotly tipped in England, rose the stakes significantly for his second. Lets Get Killed hardly disappointed, gaining critical and artistic success given the constraints of instrumental dance music. The increased exposure even helped him hire in on Hollywoods bankroll to provide the score for the 1998 feature film Out of Sight.
Born in Belfast the youngest of ten children, Holmes listened to punk rock as a child and began DJing at the age of 15 — his sets at pubs and clubs around the city during the next few years embraced a range of grooves including soul-jazz, mod rock, Northern soul, and disco. Holmes also worked as an underground concert promoter and wrote a fanzine as well, though he was still just a teenager when the house and techno boom hit Britain in the late 80s. Soon he was integrating the new dance music into his mixing, and his club night Sugar Sweet became the first venue for serious dance music in Northern Ireland. Back-and-forth contact between England and Northern Ireland brought Holmes into contact with leading DJs Andrew Weatherall, Darren Emerson, and Ashley Beedle. After familiarizing himself with the studio, he began recording with Beedle (later of Black Science Orchestra) to produce the single DeNiro (as Disco Evangelists), a sizeable dancefloor hit in 1992. The following year, his Scubadevils project (a collaboration with Dub Federation) appeared on the first volume of the seminal compilation series Trance Europe Express.
That first taste of success brought David Holmes much remixing work during 1993-1994, for Weatheralls Sabres of Paradise, St. Etienne, Therapy?, Fortran 5, Sandals, and Justin Warfield, among others. He later signed to Go! Discs and in 1995 released his debut album, This Films Crap, Lets Slash the Seats. Besides the cinema-terrorist persona evoked in the title, the album featured other ties to the cinema: the single No Mans Land had been written in response to the controversial Guildford 4 film In the Name of the Father. Television director Lynda La Plante ended up using many of the tracks from the album for her series Supply & Demand, and one track was used in the Sean Penn/Michael Douglas film The Game. Holmes first proper soundtrack, the Marc Evans film Resurrection Game, appeared in 1997. The experience inspired Holmes to travel to New York and gather a wealth of urban-jungle environment recordings, compiled and mixed into his second proper album, Lets Get Killed.
He followed with the remix collection Stop Arresting Artists, and in 1998 scored Steven Soderberghs A-list Hollywood feature Out of Sight with a prescient set of groove-funk. (The attention also earned him a place in Entertainment Weeklys list of the Top 100 Creative People in Entertainment.) His single My Mate Paul even featured as the theme music to the Sony Playstation game Psybadek. Essential Mix 98/01 followed later that year, and in 1999 This Films Crap, Lets Slash the Seats was reissued with a bonus disc of rarities and unreleased tracks. Holmes issued his third studio effort, Bow Down to the Exit Sign, in September 2000. One year later, Soderbergh tapped him to produce another feature-film soundtrack, Oceans Eleven, and it pushed a single — Elvis Presleys A Little Less Conversation, as remixed by Junkie XL — into the charts (as well as the top spot in many countries).
Holmes next project was a studio band, the Free Association, introduced on the 2002 mix album Come Get It, I Got It. On the record, Holmes mixed and matched older tracks with new productions from him and his lab-mate, Stephen Hilton. Late that same year, a full album of new tracks (David Holmes Presents the Free Association, which was reissued with a new track order in 2006) followed it onto the racks, and in 2004 Cherrystones: Hidden Charms came out.