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第九屆明天音樂節(jié) · 陣容預(yù)覽 9th Tomorrow Festival Line-Up Preview
剪輯 Edit：黃正越 Zane Ng ? ?動效設(shè)計(jì) Motion Design：吳懿霖 Wu Yilin
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迷 途 之 歌
我們一直在偏離軌道。
如果有人聲稱在過去的十一年里，每一屆都聽得很開心，那應(yīng)該是一個可愛的意外。
也許他們只是被音樂施了魔法，將感受定格在了某個難忘的瞬間，而忽略了那些被冒犯的時刻——記憶的偏離足以平息一切不快。
火柴一根接著一根，仍無法照亮比“眼前”更遠(yuǎn)的路。于是我們只能一再偏離，直到迷宮落成。
這種“偏離”會成為一種無趣的標(biāo)簽嗎？也許會的。
不過這已經(jīng)影響不到一個漫游者在迷路時喜悅的心情了。
策 劃 人 ?/ ?涂 飛
▲ 排期表可點(diǎn)擊放大及保存至手機(jī)相冊 ▲
從 Sun City Girls 顛覆搖滾框架的迷幻地下實(shí)驗(yàn)，到獨(dú)奏的跨文化探索與極致即興，Richard Bishop 的吉他不僅是樂器，更是穿越時空的聲學(xué)考古工具。
生于 1960 年的 Richard Bishop，最為人所知的是他在樂隊(duì) Sun City Girls 中長達(dá) 26 年的參與經(jīng)歷。作為一名實(shí)驗(yàn)性獨(dú)奏吉他手，他的作品常常能帶你穿越印度、中東、北非等一個又一個吉普賽遷徙路線上的幽秘之境。
From the psychedelic underground experimentation that deconstructed rock frameworks in Sun City Girls to the transcultural explorations and radical improvisations of his solo career, Richard Bishop's guitar transcends mere instrumentation—it becomes an acoustic archaeological tool traversing time and space.
Born in 1960, Richard Bishop is best known for his 26-year involvement with the band Sun City Girls and as an experimental solo guitarist whose work often reflects the shadow worlds of India, the Middle East, North Africa, and other points along the Gypsy trail.?
在莫斯科地下音樂的隱秘脈絡(luò)中，uSSSy 如同一臺持續(xù)運(yùn)轉(zhuǎn)十余年的聲學(xué)織機(jī)，將噪音搖滾的暴烈基因、東方民族迷幻器樂與復(fù)雜節(jié)拍精密架構(gòu)編織成獨(dú)樹一幟的聽覺圖騰。樂隊(duì)自 2007 年誕生以來，歷經(jīng)多次陣容改組與風(fēng)格蛻變，但始終以流動的形態(tài)延續(xù)實(shí)驗(yàn)精神。
uSSSy is an experimental noise?rock band from Moscow, Russia, formed in 2007 as a trio. Blending Eastern?inspired guitar and drums, the band has evolved its distinctive sound over the years.
馬來西亞砂拉越肯雅族沙貝琴大師 Mathew Ngau Jau 與音樂家/舞蹈家 Salomon Gau 將通過雙沙貝琴合奏與吟唱，呈現(xiàn)婆羅洲雨林深處的神秘律動。兩位在族群中備受尊敬的文化傳承者，通過精湛的技藝和扣人心弦的演奏在國際上展露風(fēng)采。時年 72 歲的 Mathew Ngau Jau 更是被評為 “馬來西亞國家文化遺產(chǎn)（人物）”。
Revered as a cultural guardians among the Kenyah community, ?the 72-year-old ?sape master Mathew Ngau Jau and musician-dancer Salomon Gau from Sarawak, Malaysia, are here to unveil the mystical rhythms ?of Borneo's rainforest through dual sape ensemble and ancestral chanting. Both artists have garnered international acclaim for their masterful artistry. Mathew is honored as one of "Malaysia's Living National Heritage".
ün，哈薩克語意為“聲音”，而漢語則音譯為“喑”，有緘默喑啞之意，二者對立統(tǒng)一，精準(zhǔn)又模糊地速寫了馬木爾第八支樂隊(duì)的氣質(zhì)。用他的話來說，這支新樂隊(duì)的風(fēng)格將會是“冷淡、無表情、后工業(yè)、一條線”，我們只有在現(xiàn)場徹底地放空思想、投入聲海，才能真正地體會這些詞的含義。而 B10 現(xiàn)場為這場演出特別呈現(xiàn)的四聲道系統(tǒng)也將解密“兩個人包圍所有人”的神秘現(xiàn)象，連帶將我們矛盾的迷思與偏見一同摧毀。
ün, meaning "sound" in Kazakh, is transliterated into Chinese as "喑" (yīn), a character connoting silence and muteness. This paradoxical unity of opposites encapsulates the aesthetic essence of Mamer's eighth musical project. As he describes it, the new band's style will be "detached, expressionless, post-industrial, and linear". Only by immersing in the oceanic depths of sound at a live performance, can one truly grasp the layered meanings behind these descriptors. This concert will employ a quadraphonic sound system, specially arranged by B10 Live, ?to materialize the enigmatic phenomenon of "two individuals enveloping an entire audience", simultaneously dismantling our ingrained contradictions, myths, and prejudices through visceral sonic confrontation.
由 Wayne Adams（Big Lad / Death Pedals / Johnny Broke）和 Iggor Cavaler（Sepultura / Soulwax / Mixhell）組成的雙人樂隊(duì) Petbrick 已抵達(dá)一個奇異的聲音疆域——在這里，電子的實(shí)驗(yàn)探索、硬核的反叛姿態(tài)、反烏托邦式的壓迫感與過載的癲狂激烈交鋒，形成為對抗加速時代特制的“聲波武器”。兩位成員過往的音樂經(jīng)驗(yàn)——Wayne 猶如擅分身之術(shù)的忍者，游走于朋克、碎核與鹿特丹超高速硬核（gabba）等多重風(fēng)格之間；Iggor 則如搖撼星際的巨獸，以其不屈的求索精神深刻影響了金屬樂的進(jìn)化軌跡——既被充分運(yùn)用，又被堅(jiān)決打破，最終以決絕姿態(tài)摒棄了一切傳統(tǒng)分類，只將精神內(nèi)核錨定于當(dāng)下時空。
Petbrick—the duo comprising Wayne Adams (Big Lad/Death Pedals/Johnny Broke) and Iggor Cavalera (Sepultura/Soulwax/Mixhell)—have arrived at an audial destination where electronic experimentation, hardcore attitude, dystopian dread, and in-the-red dementia collide and collude to form a uniquely invigorating assault, custom-fit for this accelerated age. Both members' past experiences—Wayne in a variety of musical guises ranging from punk to breakcore and gabba, and Iggor in a planet-straddling metal colossus whose questing spirit played a crucial role in the music's evolution—are profitably employed while left obsolete by a resolutely genre-free onslaught whose spirit remains firmly in the here and now.
生于日本東京的上田純子是一位享譽(yù)國際的薩摩琵琶演奏家與聲明唱誦家，師從鶴田流薩摩琵琶大師鶴田錦史與天臺聲明大師海老原廣伸，從東京音樂大學(xué)作曲科（師從包括湯淺讓二在內(nèi)的多位名家）畢業(yè)的她，融匯東西方音樂精髓，致力于推動傳統(tǒng)樂器的現(xiàn)代表達(dá)。
上田純子在全球各大音樂節(jié)舉辦音樂會、工作坊及跨界合作項(xiàng)目，與眾多國際音樂家/作曲家合作，如長笛演奏家 Wil Offermans、大提琴家馬友友，作曲家 Jean-Claude Eloy、原田敬子和內(nèi)田明美等，并參與許多即興音樂項(xiàng)目。她也尤其擅長演繹日本作曲家武滿徹為琵琶創(chuàng)作的曲目。近年，上田純子與法國前衛(wèi)搖滾樂隊(duì) PoiL 跨界合作，在傳統(tǒng)與現(xiàn)代音樂的對話中開辟新天地。
Junko Ueda, born in Tokyo, Japan, is a Japanese singer and satsuma-biwa player, presenting Japanese traditional biwa music (story-telling) and shomyo Buddhist chanting. Ueda studied satsuma-biwa with the famous Kinshi Tsuruta (Tsuruta-ryu style) as well as Buddhist shomyo-chanting with Koshin Ebihara. She studied composition at the Tokyo College of Music (under a.o. Joji Yuasa).
Ueda has presented her concert, workshop and other collaborations at music festivals all over the world and has cooperated with internationally-renowned musicians such as flutist Wil Offermans, cellist Yo-Yo Ma, and composers like Jean-Claude Eloy, Keiko Harada, ?and Akemi Naito. Ueda is also specialized to perform the pieces for biwa by Japanese composer Toru Takemitsu. In recent years, Junko Ueda has collaborated with the French progressive rock band PoiL, carving out new frontiers in the dialogue between traditional and modern music.
這場演出是對 Sun City Girls 的特別致敬。
Sun City Girls 創(chuàng)始成員 Alan Bishop 和 Richard Bishop，攜手即興音樂家、鼓手 Chris Corsano， 組成 Clandestine 三重奏，將在明天音樂節(jié)的舞臺上全新演繹 Sun City Girls 的作品，尋溯這支傳奇樂隊(duì)在 27 年職業(yè)生涯中留下的神秘聲音寶藏。此次演出，也是他們的音樂節(jié)首秀和首次正式公開亮相。
The Clandestine Trio is Alan and Richard Bishop (the two founding members of Sun City Girls) on bass and guitar respectively, and Chris Corsano on the drum kit.
This will be the first festival and general public appearance of the group. The only previous appearance of this trio was at a semi-private event in Cologne, Germany, November 2017, celebrating Unrock Record's 25th anniversary. Their performance will exclusively feature the music of Sun City Girls, drawing from the band's 27-year career of mystifying sonic treasures.
“明天即興”是為留下來的音樂家和觀眾而安排的加料單元。
Tomorrow Improvisation Unit is a distinctively arranged unit for the artists and audiences who stay until the last day of the festival, and are hungry for the unexpected.
作為當(dāng)代打擊樂領(lǐng)域的先鋒探索者，Chris Corsano 將帶來一場關(guān)于鼓組在實(shí)驗(yàn)即興音樂中發(fā)展演變的主題講座。他將結(jié)合個人實(shí)踐與歷史視角，剖析 1960 年代 Sunny Murray、Milford Graves 等先驅(qū)鼓手引發(fā)的范式革命，及其對后續(xù)實(shí)驗(yàn)爵士、搖滾等多流派鼓手的深遠(yuǎn)影響。Corsano 還將分享其培育新聲的獨(dú)特理念與實(shí)踐體系。
New York-based drummer Chris Corsano will present a talk on the development of the drum kit as an instrument in experimental improvised music. Speaking both from personal and historical perspectives, he will discuss the paradigm shift brought about by drummers in the 1960s like Sunny Murray and Milford Graves and the impact their playing has had on the drummers who followed in experimental jazz, rock, and other genres. Corsano will also discuss his own practice and philosophy on the cultivation of new sounds.
時長 Length： 51 分鐘 min
語言 Language：英語 English
字幕 Subtitles：中文 Chinese
出品 Production：Michael Blackwood Productions
《新音樂：紐約前衛(wèi)之聲 1971》匯聚了 John Cage、Philip Glass、Ben Patterson、Earle Brown、David Tudor、Gordon Mumma、David Behrman、Max Neuhaus、Morton Subotnik、Phil Corner、Joe Jones、Alvin Lucier、Steve Reich 和 Wolf Rosenberg 等眾多前衛(wèi)音樂代表人物。影片呈現(xiàn)了音樂家對實(shí)驗(yàn)聲響的探索，也記錄了電子樂的興起歷程，通過珍貴的訪談與現(xiàn)場演出影像，為觀眾理解 1970 年代初先鋒派作曲的本質(zhì)與爭議提供了獨(dú)特視角。
Featuring notable contributors to the musical avant-garde such as John Cage, Philip Glass, Ben Patterson, Earle Brown, David Tudor, Gordon Mumma, David Behrman, Max Neuhaus, Morton Subotnik, Phil Corner, Joe Jones, Alvin Lucier, Steve Reich, and Wolf Rosenberg,?New Music: Sounds and Voices from the Avant-Garde New York 1971?explores experimental sound and the rise of electronic music. The interviews and performances captured in this portrait offer valuable insights into the nature and issues of advanced composition in the early 1970s.
