+++++SIESTA+++++

        BLOGCN当掉了，突然生活没有了重心，一年多来，《骨头哼哼》变成我一个非常重要的生活场所。虽然一直觉得博客并无所谓的，但是真的一旦失去了，真感觉心里挺不是滋味的。粗想而来，可能是因为我需要倾诉，需要表现，需要自我陶醉，哈哈！

        今天回家的公车特别的松，不，应该说是难得的松！具体说来就是我坐在车子后面的位置也能看到前面第一排座位的乘客，而不是看到站在离我的脸大概10cm左右的乘客的肚皮。所以，我可以很幸福的看着第一排的一个小女孩儿。我估计不出她的年龄，只知道她很小。她给我的感觉非常的舒服，一开始我说不上来为什么会有这样的感觉，渐渐的，我琢磨出来了，因为她的面庞没有经过雕饰。大街上，你随处可见描眉的少女少妇，眉宇间诉说着风尘。而那个小女孩儿不同，眼睛清澈，眉毛还留着孩童的样子，呵呵，其实她原本就是孩童。我突然感觉到这个是上天赐给我的幸福，是的，就是这一刻！

今天其实跟平时没什么不同的
每天其实也都没什么不同的
上一个圣诞eve我呆在家里
上上一个圣诞eve我在医院里
再上上一个圣诞eve我在哪里我已经记不清了
今天老同学给我发了短信：说上一个圣诞eve我还特地打电话给他祝贺圣诞快乐
我却一点都想不起来我当时那样做的动机和过程
学法律的人也许就是这样让人讨厌的吧
有就有了，何必较那个真呢
这几天脑袋都跟进水一样
也许在下一个圣诞我回忆起来今天这个日子的时候
我还能记得有那么一个好梦
好勒，睡觉去咯！

我觉得这个世界上某些东西总是繁殖得很快，诸如烦恼！

莫名其妙的发火，莫名其妙的歇斯底里，我都以为我到了更年期了，嘿嘿，这个不是一个好的笑话！

我不知道应该面对什么！

我不知道应该做什么！

或者我知道，但不想去做！

或者想去做而，懒得去做！

我是一个特别懒的人！

所以，我应该是没有前途的！

Boxharp is the solo undertaking of The Court and Spark's talented vocalist M.C. Taylor (with collaborator Scott Solter and many contributors), and while it shares many of the musical dynamics of that fabulously ethereal country-rock band, it's also a project of a slightly more experimental nature. The songs themselves are masterpieces of spacious, lonesome musical Americana, full of loping acoustic guitars, tinkling piano lines that seem plucked from the air of an Old West cowboy bar, and soaring pedal steels with their peculiar ache that always seems to conjure up the heart-wrenching emptiness of the desert night. A few songs bear the subtle influence of gospel and blues, accentuating their feeling of desolate, beautiful, uniquely American yearning. Taylor's rough, dusky voice, like that of an old-time country balladeer (how did he learn to sing like that?! This guy got his start in a Santa Barbara hardcore band, the late EX-iGNOTA), has always been a distinctive element in The Court and Spark's material, but here it is on particularly affecting display, poignant, wounded, and endlessly searching. Taylor's gritty earthiness is complemented periodically by the celestial harmonies of occasional Court and Spark collaborator Wendy Allen.

What truly makes Boxharp's debut, The Tailored Soldier, a different kind of record, is that it was crafted on a foundation of ambient field recordings. These operate in different ways at different times. Usually they operate as a subtle instrumental element in the songs -- a distant clamor, a sigh, a creak, a drone -- somehow making Taylor's dusty, nostalgic beauties more immediate, more tactile. But when a song comes to a close, the noises continue, creating nebulous rural atmospherics until the next song begins. And at times, particularly at the end of the album, Taylor and co. build haunting, murky ambient musical textures atop the frame provided by the field recordings.

Perhaps not surprisingly, Boxharp began with those field recordings. Taylor made them with Court and Spark (and Tarentel) producer Scott Solter during a spring 1999 trip to Solter's cabin in the Tonto National Forest near Payson, Arizona. Later, the duo added additional field recordings culled from a Wyoming train yard and a mariner's church in Bolinas, CA. Back in the city, the pair enlisted a number of their musical friends, including Scott Hirsch, Tom Heyman, and Allen (of The Court and Spark, Patrick Main (Paula Frazer, Oranger), and Pat Campbell (Oranj Symphonette), to help them construct the fragile and uniquely lovely song set that would comprise The Tailored Soldier. It's a remarkable, unparalleled record, which seems to articulate something essential about life out on the western edge of the world, something which hadn't before been said.