今天我们怎样做梦?

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今天我们怎样做梦?

——评《梦幻田园》

颜峻

中国在由农业社会奔向后工业社会,田园牧歌也正在从现实中消失。但物质文明带给心灵的威胁又不能置之不理,于是在焦虑和诱惑中为人们寻梦成了许多艺术家的工作。问题在于,是寻一个古香古色的旧梦来安慰我们这些遗老遗少呢,还是造一个真实的、存在于当下时代背景的新梦来净化这些现代化的身躯?

如果是后者,就意味着冒险、探索、创造,在没有路的地方踩出路来。因为今天的道德、今天的价值、今天的感情是新的,今天的技术、今天的资讯、今天的经验是新的,今天的世界是新的。《梦幻田园》恰恰迎上了这道刀锋。把不变的纯洁做出花样算不了什么,重要的是怎样用新的语言来表达不变的纯洁。《梦幻田园》是金得哲的,但首先是陈哲和候牧人的。陈哲梦想着创造中国的新音乐,而候牧人又曾以“文化音乐”闻名京城,两人同样致力于焕发民族音乐的生命力,自《黑月亮》至今,这工作始终是淹没于商业、另类之下的。《梦幻田园》的实践尽管不够彻底,但却是勇敢的,它所承载的,是中国新音乐发展中的巨大问题。

说它不彻底,是指创作者没有意识到,或者感受到现实的挑战。金得哲和范波像两个素食主义者、两个柏拉图一样创作出了朴素、单薄、海誓山盟的歌曲,他们对遥远的、古朴的梦幻表现出无比的虔诚甚至信仰,这坚信的力量是强大的,这久违的宁静是美好的,但在《在那遥远的地方》中,凭几声马头琴便点明了那种无力回天的痛苦——此时品味,无论“Honey”,无论《初吻》或者别的,都有那么深的忧伤和——逃避。

如果不是陈哲工作室,这张专辑就只是一个失去的乐园,金得哲就只是一个不合时宜的文学青年。在一种前所未有的音乐理念支配下,《梦幻田园》有了很重的实验色彩。《梦幻田园》有古典吉它,有爵士钢琴,有迷离的演唱;“Julia”有很先锋的空白;《半梦·埙》则达到了纯音乐的领域,在一个冷得像数学的抽象背景中,带着人性浮现其中,想必没有人会当它是流行音乐。每首歌都尽量简约,但制作却并不是流行音乐惯用的手法,从几处吉它的古典而不民谣上可以略见一斑;MIDI更是编织了一种电子时代的新体验;怀旧的口琴、口哨,充满感情的萨克斯和马头琴都在新的语境下出现;录音方面,更是科技力量帮助歌手营造着气氛。

陈哲说:“我喜欢做有建设性的事”。所以他选择了我们大家都不熟悉的语言,《梦幻田园》的意义恐怕不在于“宁静和感动”,而在于这种曲高和寡的孤独吧。这是一张无法归类的专辑,因为它只是音乐,在有限的才华和经验中,他们试图回到声音的原初,去做一个不同于以往的梦。

Contents

Translation

Translation (c) Julia Gao

How do we dream today?

——Comments on《Dream Countryside》

Yan Jun

As China is experiencing the transformation from the agricultural society to post industrial society, idylles are disappearing as well. However, the threat that material civilization has posted to the mind can’t be ignored, so finding dreams in anxiety and temptation for people has become the job of many artists. The problem is whether to find an antique dream and comfort us old fogies and young diehards or to create a real new dream that exists in the current background and purify those modernized bodies?

Should it be the latter, we would have to adventure, explore, create, and tread a path where there is no path. Because the morality today, the value today, and the emotions today are new; the technology today, the information today, and the experience today are new; the world today is new. 《Dream Countryside》 happened to touch this cutter point. It’s no big deal to play new with the same purity, while the important thing is how to use new languages to express this same purity. 《Dream Countryside》 is from Jin Dezhe, but it first came from Chen Zhe and Hou Muren. Chen zhe dreamed of creating the new music of China, while Hou Muren was famous for his “Cultural music” in Beijing. Both of them devoted themselves to reviving the national music – from 《Black Moon》 until now, this work has always been drowned in commerce and difference. Although the practice of 《Dream Countryside》 was not thorough enough, it was brave and carried the huge problem of the new music of China.

We say that it wasn’t thorough because the composer wasn’t aware of, or didn’t feel, the challenge from reality. Jin Dezhe and Fan Bo, just as two vegetarians or two Platos, composed songs that are simple, thin,and like solemn pledges of eternal love. They showed deep piety and even belief of the faraway and antiquated fantasy. Such conviction has great power and such distant peacefulness is beautiful, but the few sounds made by horse-headed fiddle in 《In The Place Faraway》was enough to point out the pain of helplessness – today, no matter “Honey”, “First Kiss”, or others, they all show deep sorrow and – escapism.

Had there been no Chen Zhe’s Studio, this album would have been a lost paradise and Jin Dezhe would have been a young writer born out of time. Determined by a brand new musical idea, 《Dream Countryside》 has a strong scent of experiment. It contains classical guitar, jazz piano, and faint vocals; “Julia” has a pretty avant-guard blank period; 《Half Dream • Ocarina》 has reached a area of absolute music, where humanity is placed in an abstract background as cold as mathematics – doubtless no one would treat it as a pop song. Every song is as simple as possible, but the production method is not what typical pop music uses, which can be easily recognized from the classical – but not folk – guitar; moreover, MIDI has employed a new experience of electronic music; reminiscent harmonicas and whistles and emotional horse-headed fiddle all appear in a new environment; as for recording, technology has greatly helped the singer create the ambience.

Chen Zhe said, “I like doing constructive things.” So he chose a language that all of us are not familiar with. The meaning of《Dream Countryside》 lies not only on the “peacefulness and emotion”, but also in the high-minded loneliness. This is an album that can’t be classified, for it is nothing but music – using their limited talent and experience, they tried to return to the very beginning of sound while making a dream different from before.


Remarks

Restricted / Protected Article

Rock in China is a mainly free community project documenting the Chinese underground music scene. Though some of the content hosted is copyrighted and published with specific permission by the original works' author. This article is one of these and it has been protected / restricted and thereby excluded from the provisions in the General Disclaimer regarding its copyright. The applicable terms are stated below.

Licensing

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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.

著作权遵循创作共用条例之“非商业、署名、不可修改”原则。

Translation

In case of a translation of the article, the copyright of the translation is with the translator stated.

Further information

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

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