音乐人有意思的访谈片段
最近没实验，一直对着电脑看文献。人一旦无聊总想找点事儿打发时间，于是开始随机搜索正在听的乐队的访谈，这个过程可能还要持续一段时间，就想着不如把一些有意思的片段摘下来。若是以后回想起这段时间做的事儿，也算聊以自慰。
Interview with Michael Rother (Neu!)
Michael Rother 也算是活化石的存在了，这个访谈是前几年他来荷兰参加grauzonefestival的时候，随便聊聊就是很多八卦。
聊聊 Kraftwerk ，
“The musical achievements of Kraftwerk deservedly gave the band a place in music history. I only wish Ralph Hütter would be more relaxed in the way he controls the legacy. I met Ralph at a court hearing in Hamburg in February this year where he was fighting a case against Wolfgang Flür. His intentions to decline the long-time former members the right to even mention their membership in the band in their current activities is in my view a very poor attitude, quite unnecessary and unworthy of the great legacy of Kraftwerk.”
关于跟David Bowie差点的合作：
"We both were very enthusiastic about the idea of collaborating and we talked about details on the phone. My interpretation of what went wrong is that someone around David decided to prevent him from being exposed to more crazy ideas of experimentation. It´s a fact that at the time David Bowie´s albums sales were going down and fans didn´t appreciate his change towards experimentation with ideas that were influenced by music of Kraftwerk, NEU! and Harmonia – to name a few. He openly confessed being very interested in and impressed by our music. Anyway, after my talk with David I received a phone call from someone in his management, I think, who wanted to discuss money with me. I told him not to worry about contracts or money – as long as the music was great, the legal and financial stuff wouldn´t be a problem. I think my attitude scared the guy. The next thing that happened was that I received a phone call from an assistant to David who told me that I wasn´t needed in Berlin, that David had changed his mind. " 最后还不忘记夸下Heroes，“I quite like the album “Heroes” and Robert Fripp played really good guitars on it.”
谈到那些新乐队新音乐：
"To be honest, I´m usually too focused on my own work to be able to follow other bands – and I enjoy silence at home most of the time. The last band that really excited me is the Fuck Buttons from the U.K."
回忆 Klaus Dinger ：
“His paranoid tendencies and his illegal actions when he released some of our recordings behind my back in Japan caused me a lot of pain. ······ Since Klaus passed away in 2008 I prefer to focus on his good sides as an inspiring collaborateur in NEU! and I´m thankful to have created the NEU! music with him. It will continue to be with me for the rest of my life and hopefully find new audiences for a long time.” 最后一段泪奔
最后还夸奖了下在中国演出时捧场的观众:" The Chinese audiences where I just played for the first time ever were amazingly enthusiastic and went totally wild. Wonderful experiences like this inspire me to continue along this road. "
Interview with Captain Sensible of the Damned
Nick Mason 被黑的好惨，哈哈:"We DID all agree on one thing though – that rather than rehash the 1st album time after time the Damned should go on a sort of musical adventure, changing and developing with each new record. That was the reasoning for Pink Floyd’s psychedelic ex front-man Syd Barrett having been appointed producer for MFP and I still think we could’ve made an interesting spaced out punk psych record together – if Syd had had his head together enough to attend the sessions. He sent Floyd’s drummer instead – who we rudely complained about at the time saying he couldn’t even mix a gin and tonic!”
谈到与Motorhead一起演出，与Lemmy的友谊:"As ex guitarist of the Johnny Moped band I fancied a go at 6 strings again so we called up our old mate Lemmy to play bass and knocked together a setlist of Damned and Motorhead favourites during a short boozy rehearsal. The reaction of the audience on the night of the performance was splendid so we arranged another show… and then another…. and well, you know the rest." 彼时Lemmy 还没去世，唏嘘。
关于台上的穿衣风格:" I used to wear these fluffy jump suits which were extremely bloody hot under the stage lights I can tell you. Impossible to play in for more that half an hour or so so… so I’d end up naked, drenched in sweat on more than one occasion. That’s my story and I’m sticking to it. " e...
The Abyss Stares Back... Smiling: Amenra Interviewed
这个访问略微有点空泛，不过还是有几点很感触。
这个开场白写得不错
If the 1990s was the decade of optimism, the new millennium ushered in chaos, uncertainty, an abyss of terror. New wars, new hatreds, new fears. New technologies would make communication easier, and yet demolish the need for contact altogether. Humanity stripped bare. New neuroses, new anxieties, new pills to hide the pain. It was then that Amenra sought to find solace in music and art.
·······
From the opening strains of Black Sabbath's Black Sabbath, with it's raging storm, and ominous bells, dissonant guitars – and Ozzy Osbourne asking life's great question, 'What is this that stands before me?' – heavy metal has become synonymous with despair, darkness and dread. Black Sabbath, psychedelic rock, early heavy metal, noise bands such as Swans and Throbbing Gristle, punk acts like Black Flag and Amebix, all would collide by the last gasps of the 20th Century to provide fertile inspiration for new artists looking to building on that tension, and ultimate release. None more so than American sludge acts, Neurosis, Melvins and Crowbar. It would be on this unholy trinity that Amenra would pin all hope, or lack thereof.
关于 turmoil 与depair
“The despair isn't beautiful, but it's the overcoming of it that is beautiful; the chapter right behind it, the growing from it, the growing together, and the realization of the importance of love and connection. That is what despair and adversity triggers, or should trigger.” 当时刚好在看鼠疫，第一次读到这段感觉有点加缪的意思。
谈到Neurosis，关于Scott在巡演中为Amenra开场:" Ah, but remember it's him performing as a solo artist, so it's not like Neurosis are opening up for us. It's a logical move to put an acoustic solo artist before a heavy band. It wouldn't make sense to make him play after us, even though he deserves it more than anything." ······ It (Neurosis) opened my eyes that there could be so much force from music. It had so much power, a tribal commotion. 看了这个回答对Amenra好感倍增。
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20180126/ 刚随口说了嘴闲着无聊，第二天文章就被拒了，T T。
Richard H. Kirk (Cabaret Voltaire)
过一阵就要去看Cabaret Voltaire现场，在网上随便找了点访谈看看。
谈到90年代时，关于音乐风格的选择时:"If we’d made an industrial album we probably could have gone bigger than Nine Inch Nails, but that choice was taken away from us. I also wanted to work with Todd Terry and Derrick May, to me that was where things were going. I thought house had lost a lot of its edge and I thought techno was it. That’s what I was more interested in and that’s what came through with what I was doing with Sandoz."
重组 Cabaret Voltaire乐队时,"In 2014, he finally picked up the Cabaret Voltaire name again for a series of live performances of new material. Rather than re-living past glories, Kirk says he’s using the project as an antidote to nostalgia."
It’s totally new, I don’t play anything from the past," he says staunchly, "I think being 60, it feels more dignified than a band full of old guys wobbling about on a stage. I’ve been a big fan of Miles Davis for many years and he would never play anything from the past and the only time he ever did that was before he died. I just feel like, what’s the point? It’s not going anywhere, who wants to be playing stuff that you did 30 years ago and constantly repeating yourself? I always make it really clear that if you think you’re going to come and hear the greatest hits then don’t come because you’re not. What you might get is the same spirit."
看完这篇访谈，说来说去其实就在重复后面两段:"The Coachella Festival asked me to reform Cabaret Voltaire and there was a very fucking large amount of money on the table, and I said, ‘No, this is Cabaret Voltaire, we don’t go back. "Cabaret Voltaire was always about breaking new ground and moving forward. It would be so sad to see it as a nostalgia act. You can’t make yourself that age again. The way forward is to keep trying new things." 好的老铁，期待你下个月的精彩表现。
The Past, Present and The Future Sound Of London (Garry Cobain and Brian Dougal)
FSOL的这个访谈，名字还能更土一点么。想起去看badbadnotgood的现场，每首歌结束后都有一群人在喊goodgoodnotbad，尴尬。
很吸引人的80年代曼彻斯特的描写:" Their time in Manchester, formative as you like, passed in a blur of green suits, wild parties, funky diodes, cheap student digs, mesmerizing studio equipment, hot knives and seminal dance records."
说到城市之声和影响他们的乐队:" Garry Cobain and Brian Dougal were amongst the masses heaving to the sounds created by local heroes like The Smiths, New Order, The Chameleons and other influential bands like Throbbing Gristle and Cabaret Voltaire (巧了）. Back then they were just two students – electronics (Garry) and computer science (Brian) – with their own musical itch to scratch."
经常被拿来跟Eno比较:" When we did these albums, especially ‘LifeForms’, the journalists all trooped through saying, ‘ah, so you like Brian Eno?’” chuckles Garry. “We were actually a lot more punk than that." hhh~
也许最出名的曲子:"We Have Explosive’ was basically the end,” says Garry. “It was a protest song against the fact that I thought we were a much deeper band than others thought we were. ‘We Have Explosive’ ironically became one of FSOL’s biggest hits. But Garry and Brian still felt they had to take time out. They made (separate) transformative pilgrimages to India. 西方音乐人真真喜欢去印度找灵感啊。
关于两人的分工:"I represent most of the feminine things, the melody, the softness; and Brian, to oversimplify things dramatically, represents technology, machines and programming. He can be quite aggressive without me." Garry says. wow~
谈到Dance music:"Dance music taught us how to use the studio in a new way, but we have to now take that knowledge and move on with it. This stuff, electronic music, is not dead. It’s a process that is ongoing. We have to take hold of the past and go forward with it" 看看人这觉悟。
关于未来，每个音乐人都在警惕怀旧,"We had hits,” says Garry, “but they weren’t conventional hits. What we wanted was more of a re-introduction to FSOL rather than a retrospective.” “The label wanted to just put out a collection of tracks, but we freaked out,” 他们还经常会说:"It won’t be the same sound of course, but it will be the same spirit. The future, I think, has finally caught up with us". 翻译成中文就是，不忘初心，砥砺前行。(lll汗
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20180201/ 最近肩颈好疼，状态也不好，感谢Lydia Lunch阿姨让我笑出声来，哈哈，春天赶快到来吧。
Lydia Lunch On No Wave
看Lydia Lunch 的采访不禁感慨，阿姨真性情!
谈到No New York那张碟时怒斥Brian Eno, “He did nothing,” she said of Eno. “First of all—let me drop this little nugget—he had fucked himself into the hospital right before the recording. Bravo! I respect that in a man. This is the worst production Teenage Jesus ever had. He did a great job on Mars and DNA. I just think he was asleep at the wheel. I don’t know why he was there. Much better was being produced by Robert Quine. ······ I loved Eno’s first album, but he did nothing. I wanted to kill him.” hh~
分享自己年轻时的生存（行骗）经验, “I survived at that time as a fucking hustler,” she said. “I’d go with a yellow notepad to 6th Avenue and 8th Street. I’d go up to women and children. ‘Could you give a dollar for the American Cancer Foundation?’ I’d make $10 a fucking day. That was all you needed. $10! Woohoo! Can you imagine? I never had a job in my adult life. I never plan on having one.” 哈哈，现实版的美国甜心。
Nicolas Jaar老师竟然是阿姨的粉丝，Electronic musician Nicolas Jaar contacted Lunch as a fan, asking if he could remix a track from her 1990 spoken word album Conspiracy of Women (COW), which he reissued on his label, Other People.
采访的最后一段，关于生活态度，阿姨说得真是太好了，有点长，节选一段又深邃看到最后又笑噗了的."Always been arrogant. Vanity save me. And it’s not because I’m special. It’s because I understand the plight of the fucking individual who has been battered into reality, baptized in blood, slapped into fucking breathing, who’s too fucking weird or sensitive. I may appear really insensitive and fucking brute, but underneath it all, I am fucking crying for everybody. I am crying for everybody. And if you know me, you know that. And that’s why people come to me. And if my heart is too fucking harsh for those people, and it fucking is, too bad. I’m speaking for the ones whose life has been harsh, and if it’s too harsh for you, you don’t need to fucking see it. Bring me your brokenhearted, your impoverished, your fucking abused, your traumatized, the widows, the weirdos, the gays, the queers.”
“Honey,” she interrupted herself, looking straight at me. She then grabbed her breasts with both hands and shook them for a few seconds. “Balls,” she said.
最后，以阿姨的潇洒结尾。Despite her illustrious body of work, Lunch still feels like she’s had no cultural impact. “I always say ‘Don’t blame me for Courtney Love, she’s a trainwreck crash into a bank’. I know I’ve impacted individuals and that’s what’s important but I see no culture reflecting back the impact I’ve had.”
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20180224/ 被拒的文章终于重投了，心中的一块石头暂时也算放下。荷兰下周持续低温，周一就要开始新的实验了，趁着周末更一段很久前读的，新年快乐了。
Steven Rutter(B12) 的这个采访，前前后后读了两遍，真是一脸感动。着迷于90年代初底特律的techno时代，又想起去年看jeff mills跟tony allen老师的合作演出，完全成了一场跳舞现场，我想说又说不明白的东西全在这篇采访里了。
作者白描了B12的音乐： B12's style of techno was melodic, pad-heavy and syncopated. "I remember one of the guys at the record store where Mike worked said, 'Why are you bothering with this rubbish? Who's going to want this?' People were into heavier Belgian sounds back then.
B12描述了心中的techno：Rutter and Golding had a narrow and romantic idea of what constitutes techno—as they saw it, the needs of the dance floor were a corrupting influence on an otherwise pure form of music. As techno became increasingly distorted and aggressive, B12 remained emotional and nuanced. Their beats don't hit so much as glide, the light touch serving to highlight the movements of melody and texture. 这段写得太好了，简直应该多读几遍，红房老师用过“白相”去形容音乐，我虽然不太懂这个词儿是啥意思，但我觉着说的就是这段话。
关于头两张专辑的评价：
Electro-Soma sounds blissfully fleet-footed, combining emotional extremes into complex wholes. Euphoria and melancholy are locked in a delicate balance, shown to be two sides of the same coin. 看人家这短评写的。。。
For all its future-centrism, TimeTourist feels tied to something older. It's all shiny surfaces and crisp edges, but the guiding intelligence behind the scenes feels weathered and cautious in its moments of joy. Electro-Soma's questing sense of travel and discovery is still there, but TimeTourist seems to have journeyed too far into the void.
Time Tourist came at a moment when Aphex Twin and Autechre were slipping deeper into abstraction and B12's comparatively traditional style seemed increasingly passé. 从time tourist发行后的很久一段时间，B12一直被诟病不够创新，停滞不前时，作者的采访夹分析也是非常棒。我自己之前在评价某些乐队专辑时也会觉得变化不够，没有创新等，却从来没有想过这些问题。
Historians and critics like to emphasise artists who allegedly played a groundbreaking role in pushing a style forward. This assumption that art forms evolve in linear chronologies with an avant-garde pushing it forward is a fallacy that's become ingrained in many ways of viewing culture, but especially in electronic music. Placing greater value on supposedly innovative artists assumes that those following their own muse but working within established forms are inherently less valuable.
It's a perspective that IDM brought to a fever pitch, but which has been latent in how Westerners ascribe value to creative works since the Renaissance. I asked Rutter whether he feels innovation and development are superficial criteria for judging the value of music. He brought up John Lee Hooker. "He did the same thing for decades because it's in his blood," he said. "It'd be pretty weird asking him to move with the times."
There will always be appetite for the cutting edge, but artists like B12 show us that there's something to be said for sticking to what you know, even if everyone around you is telling you you're out of touch. Their focus on limited stylistic parameters engendered a subtlety of feeling.
谈到B12的第三张专辑发行：Mitchell was interested in releasing a third B12 full-length, but every track B12 submitted was rejected. "I remember having a meeting in their office and Steve Beckett was there too. And they said, 'We've heard this all before, you've got to do something different and push the limits, show us how diverse you are.' All we knew how to do was play what we had in our heads. Then Rob passed away and that was it. We didn't release anything. That was the end of music for me. I stopped buying records. The door closed." 而谈到这个不满意的专辑时，Steven形容道:"I think we listened to the pressure too much." 语气中分明全是遗憾呐
该老师谈及听音乐时说道:" “I stopped listening to electronic music, everything started getting very glitchy and not melodic, and I wasn’t interested in it anymore, because I like melodies. I don’t like music that’s very harsh. Steven opted going back to his roots, listening to “punk, jazz and bands like Radiohead. 哈哈哈，radiohead出镜，Radiohead’s melancholic and sombre moods playing a significant role in his music today. “I’m really driven by moods and especially sadness” and in his music you can hear that visceral something “tainted by sadness and loneliness” coming through.
最后，用一段别人的评价结束。 Writing about their Archive reissue series in The Wire, Derek Walmsley said they created "one of the most vivid sound palettes of early '90s electronic music."
致敬
