往事·眼泪

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往事·眼泪 / Past·Tears

颜峻

前几天,在纪念朋克运动22周年的晚会上,“霍乱”乐队翻唱了一首叫做《往事·眼泪》的歌。与他们自我蔑视般的反叛热情不同,这首歌像时光隧道,让人们返回了纯洁悲伤的过去,没有酗酒的失业青年,没有碎酒瓶,也没有令人不安的另类青年集会;有的只是黑暗房间里被发现的神秘情感:“别在黑暗中流泪,宝贝,不要让我感到有罪,让我忏悔。像上次一样慢慢走,看天空有多美。现在我只想一个人,独自体会……往事总在记忆中溜走,眼泪只是一种滋味……”

这首歌来自北京“金五指”等乐队1993年出版的《摇滚精神》专辑,我没有听过,据说其他作品不堪入耳,可就是这样一群来无影去无踪的人士写下了拥有撼人魔力的《往事眼泪》。我无数次地听过王凡、樊军、“残响”乐队翻唱它的各种版本。简单地说,这是一首属于现场的中板作品,曲式是AAB,有一个版本由军鼓边击开始,人声一次次停顿,然后反复,用近乎耳语的方式把听者由幻觉引向悲伤,话筒捕捉到了主唱的呼吸,它将在吉他手踩开重金属-激励效果器的一刹那变成一飞冲天的华美高潮。简陋设备制造的空旷感和生硬的音色恰恰突出了原作的朴素——真正的秘密由爱情开始,却到达了“我和青春在一起,还能有多久……”简单的旋律承载着极为内向的直觉之美。没有几个人这样写歌。

你和青春在一起,还能有多久?歌坛泛滥着的抒情之中,有这样一盏非理性烛火,照着短暂的永恒、逝去的现在、虚幻的现实,和被孤独提炼成呓语的爱情故事,可惜的是,这个乐队,这张专辑、这首歌,早已被时光淹没,他们的存在,现在就如往事和眼泪一样,成为一种时间性的抽象事物,像影子,只能被人们翻唱、回忆、体会,再现成一次次稍纵即逝的美。

这首歌从感伤的角度刻划了一代人,那就是不言而喻的迷惘,那就是被理想主义教育、被个人主义鼓舞的一代人,他们还拥有往事,也知道美,但却注定要因此与无法挽回的一切为伍。“哦,不要不要是这样,我那无所谓的高贵,哦不要不要再这样,无法挽回。”就是这样,好歌总是从自我出发,到达精神的边界,辉煌或黯淡。

Contents

Translation

Translation (c) Julia Gao

A few days ago, at the party in memory of the Punk Movement 22 years ago, the band “Cholera” sang a song called 《Past·Tears》. Despite their self-despising and rebellious enthusiasm, this song, like a time tunnel, took people back to the innocent and sorrowful past – there were no drunken unemployed young men, no broken wine bottles, and no disturbing alternative assemblies; the only thing that existed was the mysterious emotion discovered in the dark room. “Don’t shed in the dark, baby; don’t make me feel guilty and let me confess. Walk slowly like last time and see how beautiful the sky is. Now I just want to stay alone, and feel it alone……The past always slips from memory and tears are only a kind of taste……”

This song was originally from the album 《Rock Spirit》by “Golden Five Fingers” in 1993, which I hadn’t heard of before. It’s said that the other works are intolerable to the ears, but it was these people who came and went without a trace that wrote this magical song. I have heard it sung in different versions by Wang Fan, Fan Jun, and “Reverberation”. To put it simply, this is a moderato work that belongs to live performances with the melody of AAB. One of the versions started with a side drum, while human voice stopped at times and then repeat, leading the audience from illusion to sorrow by whisper. The mike caught the breath of the vocal and turned the moment when the guitarist trod on the effect pedal into a jump to the summit. The emptiness created by rough equipments and the harsh voice combined to emphasize the simplicity of the original work – true secrets came from love. However, the simple melody has reached such introverted beauty of intuition as “How long can I still be with my youth……” Few write songs in this way.

How long can you still be with your youth? In the surfeit of expressive pieces in the music circle, there is an irrational candle that lights up the transient eternity, the dead present, the illusive reality, and the love story that has been refined into murmur by loneliness. But it’s a pity that this band, this album, and this song, have long been inundated by time. Their existence at present, like the past and tears, has become an abstraction of time. Like a shadow, the song can only be sung again and again, be recalled, be felt, and be made alive in the form of fleeting beauty.

The song has depicted a generation from a sentimental angle – this is the self-evident confusion; this is the generation educated by idealism and inspired by individualism. They still possess the past and still know beauty, but they are doomed to associate with all that can’t be retrieved. “Oh, don’t don’t do this, my indifferent nobleness. Oh don’t don’t be like this anymore, so irretrievable. ” This is it – good music always rise from self to reach the edge of spirit, splendid or dim.

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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