アーティスト： 姫神
作曲： 星吉昭
レーベル： ポニーキャニオン
販売元： 株式会社ポニーキャニオン
発売日： 1997年02月21日
メーカー品番： PCCR-253
ディスク枚数： 1枚
収録時間： 47分32秒

Satie于1866年在法国诺曼底诞生，1925年逝世，享年59岁。创作以钢琴曲
为主，旋律大多简单但富有浓厚的神秘感。大约是与印象乐派德彪西、拉威尔同
期，但当时并不怎么有名 。
一般认他是个怪人
诸多古怪事迹包括：
1. 酷爱收集雨伞(据说他小小的房间里摆了一百把伞)
2. 身为钢琴家，但亲朋好友均表示从未听他弹过琴(据说死后人们还发现他家
的钢琴上蒙着厚厚一层灰尘)
3. 专给自己的曲子取一些怪名字，
譬如「干涸的胚胎」(大概他那天在书店看见「物种原始」之类的书吧 ^^ )、
「软趴趴前奏曲(给一条狗)」(大概那天被狗追了^^ )、
「树林里一个胖胖好好先生的速写与媚态」(嗯，这锅……)等等。
4. 手写的琴谱除了最早期的以外，从不加小节线 (不懂小节线是什么的人)
5. 琴谱上还写了一堆他本人稀奇古怪的批注，
比如：「light as an egg 指尖要轻得像一只蛋」
「here comes the lantern灯要亮起来了
「open your head 打开你的脑子」
「play like a nightingale with a toothache要弹得有如一只
患有牙痛的夜莺」
「 work it out yourself 自己动脑筋想」
总之，他就不像一般作曲家写些规规矩矩的符号就对了。老实说，若认真看
他的指示弹，人恐怕会笑得摊在钢琴上了 ^^
他的音乐极富原创性，但指法简单，概念又太过新颖，因此，与他同代的人
常讥讽他为业余钢琴家。这位老兄脾气又非常火爆，任何他看不顺眼的乐评一定
加倍给骂回去，所以啰，尽管德布西与拉威尔努力推销他的音乐，但仍然成不了名。

by Tim DiGravina
Alphaville's 1984 debut, Forever Young, deserves to be viewed as a classic synth pop album. There's no doubting that Germans are behind the crystalline Teutonic textures and massive beats that permeate the album, but vocalist Marian Gold's impressive ability to handle a Bryan Ferry croon and many impassioned high passages meant the album would have worldwide appeal. Indeed both "Big in Japan" and the touching, sad change-of-pace "Forever Young" raced up the charts in multiple continents. Borrowing inspiration from Roxy Music's detached theatricality and Kraftwerk's beats and rhythms, Gold and company hit upon a magic formula that produced here an album's worth of impossibly catchy tunes that could almost serve as pure definitions for the synth pop genre. The hits race straight for one's cranium and embed themselves upon impact. "Big in Japan" feels like a more serious cousin to Murray Head's "One Night in Bangkok," as a slow-pounding beat spars with Gold's desperate voice. "Forever Young," a stark, epic song that would become essential for every post-1984 high school graduation, drips sadness and never fails to cause a listener to nostalgically reflect on life and loss. Outside of these hits, the remainder of the songs rarely falter, mixing emotion, theater, and of course electronics into a potent, addictive wave of synth euphoria. It's likely every fan could pick his own favorite of the other should-have-been-hits, but "Fallen Angel" deserves special mention. It begins with spooky, funny warbling and icy keyboards, and then explodes and transforms into a startling, romantic epiphany at the chorus. If its lyrics are a bit goofy or juvenile, it only adds to the heartfelt love the song expresses. Alphaville stick firmly to their synths and sequencers on Forever Young, but they keep things interesting by incorporating motifs from funk, Broadway, Brazilian jazz, and even hip-hop. Even when the band takes itself too seriously, the songs' catchy drive and consistently smart production cover any thematic holes. Forever Young is a technically perfect and emotionally compelling slice of 1980s electronic pop/rock music. It's also a wonderfully fun ride from start to finish.