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Yan Jun's review of the album "Appearance" by the band Supermarket. Translation provided by Julia Gao.

General information

Author Yan Jun
English title Able to Love, Able to Fly, And Able to Forget
Chinese title 可以爱,可以飞,可以遗忘
Publication Noises Inside
Date of publication 2000 exactly on 2000/01/01
Original URL The original article was posted on http://white.rockinchina.com/w/Noises_Inside

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In this article, especially the following entities (bands, artists, cities, articles, etc.) are being called out:


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Album Review, Translation

Original Article

可以爱,可以飞,可以遗忘 / Able to Love, Able to Fly, And Able to Forget

——超级市场《模样》 ——“Supermarket”《Appearance》



如果说远渡重洋而来的时尚之声会让我们感到隔阂,会引发“人性早已流逝”的叹息,甚至更进一步使老庄的不屑子孙们借尸还魂,辱骂电脑及其变幻的血。那么,超级市场终于通过一位可以飞的中国猫,让骅梓、窦唯面临下岗,让满怀伤与痛、怨与哀的我们拥抱了来自时代深处的安慰。尽管从歌词和前奏来看,这《模样》的第一首,《很久很久以前》几乎就是超现实主义游戏,但摇摆的热情马上进入了混沌之中,专辑基本的节奏和尾音加重的歌词在幻想中诞生了,真鼓的忠诚音色、吉他的温情纠缠与所谓时尚会师了。在这被人声处理得结构突兀的第一曲之后,超级市场渐渐征服了真正奢谈人性的人们——预想中的Sub Rosa式魔幻低音或Astralwerks式冷峻回声并没有泛滥,相反,极简派和未来主义被削减了,既便在拥有Underworld般开头的《爆炸》中,他们也中止了弥漫的渐密的织体幻觉,转而重拾摇滚记忆,慢动作一般,温暖着叹息、节奏、迷幻、手工制作的旋律……现在,我的害怕已经融化,时间让人发傻,听下去吧,将音乐辞典放下……




Translation by Julia Gao

Three men whose outlines are misted by colors, an album with deep tenderness – these are more worth possession than 《Feeble strength》 and praise for its humanity blaze.

If the sound of fashion from overseas makes us feel estranged, arouse sighs for “Humanity disappeared long ago”, and even make the disdainful posterity of Lao Zhuang resurrect in a new guise to revile the computer as well as its changing blood, then “Supermarket” finally use a flying Chinese cat to let Hua Zi and Dou Wei lose job while let us, who are full of hurt and pain, resentment and grief, receive comfort from the depth of time. The lyrics and intro of 《Long long ago》, the first song of 《Appearance》, look like a game of hyper-reality, but rocking enthusiasm is soon added to the chaos – the basic beat of the album and the end-stressing lyrics are generated in fantasy; the faithful sound of real drums and the tender entanglement of guitars join the so-called fashion. After this first song with abrupt structure created by human voice, “Supermarket” gradually conquers those who are talking big about humanity – instead of abundant expected Sub Rosa magic bass or Astralwerks echoes, minimalism and futurism are reduced. Even in 《Explosion》 which starts in Underworld, they stop the pervading texture fantasy and pick up the rock memory as if slow motion – warm sighs, beats, fantasies, hand-made melodies…… Now my fear has melted; time makes people dumb. Go on listening and put down the music dictionary……

From “Oh I have sacrificed my feeling for you” to “width enables me to embrace you”, we can feel the honeyed words in the eschaton; from “I only want to go back to childhood where there is no luck or God” to “Nobody seems to love this world”, we discover the wish to go home remaining in our bodies (Oh, it never comes true) mixing with exaggerative and doting voice (who cares whose voice is it) as “If love can be excluded, how can it be excluded” and “Hi, my cafe”. No one will think of Rave and escape anymore, even in the 《If tonight comes》 which is disguised as dance shot version. Entering the flickering market, our own emotion, memory, love or sorrow, and even the book of sub-consciousness, have long piled up like mountains – they increase the density, decrease the speed, and add the guitar environmental music of 1970s and the smell of human flesh in rock tradition to the electronic fantasy of today. Let the impugnation of “morbidity” and “narcissism” collapse by itself. these 9 slow-acting drugs with eclecticism– 9 songs – are neither fierce nor mathematical; they even have redeemed the desperation of those who admire perfection, someone still has gone through the dark night of frustration, secrecy, and humanity before seeing the sunrise.

Facing the source of memory, forget reason. “Supermarket” has saved magnificence and suppressed grief just to let our souls fly and dance with their beautiful words. What happiness it is to forget – it causes scars, experiences, childhood horror, and social frustration to reoccur, making all these things indiscernible but faintly stirring. In the ending song 《Thorns and the past》 which can heat every sleeping blood, the length of an ordinary song allows deliberate switch of musical forms – from the ambiguous and delicate Techno to the full rock frame. The sample from Enigma (or coincidence?) and the repeating two lines of theme almost stir listeners up; the still distorted human voice and the shattered interlude even make us believe that there is no more reality worth perusing or writing about and that there is no more science able to bind love.


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Article provided by Yan Jun, which is published under the Creative Commons License "some rights reserved" (non-commercial, no-derivation, naming the original author), with special permission to Rock in China.



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Further information

Please visit Yan Jun's website (www.yanjun.org) for more information on his works.

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