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}} ''Zonoscope'' is the third studio album by the Australian electronic music band Cut Copy, released on 4 February 2011 by Modular Recordings. Recorded in Melbourne in 2010, the album received mostly positive reviews from music critics, although less favourable reviews criticised its lack of innovation. ''Zonoscope'' reached number three on the ARIA Albums Chart, becoming the band's second highest-peaking album after ''In Ghost Colours'', which topped the chart in 2008. At the ARIA Music Awards of 2011, ''Zonoscope'' won Best Dance Release and the Artisan Award for Best Cover Art, and was nominated for Album of the Year. It was also nominated for Best Dance/Electronica Album at the 54th Annual Grammy Awards in 2012. ==Background and recording== The album's official title and release date were announced exclusively through ''Spin'' magazine on 2 November 2010. In an interview with musicOMH, guitarist Tim Hoey said, "I guess we finished touring ''In Ghost Colours'', and we wanted to strip away what we'd done before and re-imagine sonically with different synths and guitars. We also wanted percussion to become more of a feature, because we had this idea of creating a rhythmic, hypnotic record where time becomes irrelevant." He explained that album's title, ''Zonoscope'', means "a variety of things", adding, "It was an instrument for us, but it's also the lens you would use to view this kind of world. We wanted Zonoscope to represent this record."〔 ''Zonoscope'' was recorded over a six-month period in a warehouse space in Fairfield, Melbourne,〔(【引用サイトリンク】title=Cut Copy – Zonoscope )〕 littered with discarded vintage recording gear and instruments.〔 "There was no Internet in there, barely any heat, nothing, just fucking industrial Melbourne", Hoey said. "We just knew we could kind of go into there and not feel pressured. We were just kind of locked in there by ourselves, and we couldn't have had it sounding how it sounds without us going in there."〔 In an interview with Pitchfork Media, Whitford described the album's recording as "a much more open-ended process where we just sort of went off on these more jammy tangents where we'd just sit there and play stuff for 10 minutes and see what happened—we might end up putting out a 10-disc box set of all the weird extended jams we did on this record. There's more of a repetitive, hypnotic, rhythmic aspect to a lot of the tracks." The band had the idea of using a vocal ensemble while listening to David Bowie's ''Young Americans'' (1975) and Primal Scream's ''Screamadelica'' (1991). Hoey stated, "()hen we started talking to Ben Allen about mixing the record we mentioned that to him and he knew a vocal ensemble in Atlanta that he'd be able to get for us () They were amazingly talented singers and they just helped heighten the epic moments on the record which is something we really wanted to try. They also seemed to compliment Dan ()'s voice really well. We didn't necessarily want them to be the focus, just to work in harmony with what Dan was doing and it was amazing to see it work out so well."〔 Regarding the album's influences, Whitford stated, "I was obsessed with Fleetwood Mac's ''Tusk'' while working on this record—a lot of the Lindsey Buckingham tracks have a proto-80s African feel. Also Talking Heads, ''Slave to the Rhythm'' by Grace Jones, and Malcolm McLaren's ''Duck Rock'' album. And a lot of acid house era, post-rave indie music like Happy Mondays and Primal Scream."〔 The album's artwork uses an image by the late Japanese photomontage artist Tsunehisa Kimura titled ''Toshi Wa Sawayakana Asa Wo Mukaeru'' (meaning ''The City Welcomes a Fresh Morning''), which depicts New York City being engulfed in a waterfall.〔 "We saw this representing what the album is about, a tussle between synthetic and organic instruments. It isn't a destruction of the old world, more a creation of the new—it looks archaic, but at the same time it's timeless, referencing music from the past", Hoey said of the artwork.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Zonoscope」の詳細全文を読む スポンサード リンク
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