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荒音祭 8月24日

苦海冲浪手 2019-08-20 02:55:11

我们战斗和杀人不是用愤怒，而是用笑。 ---- 尼采

在向着危险的边缘不断冒进的时候瞥见曙光

我们在垃圾信息里面浸泡的太久了

如此时刻我写不出什么句子也没办法侃侃而谈

我说过的废话已经太多了

如此时刻只需要舞蹈祝福和诅咒

在全景敞视监狱里载歌载舞

火和血在地底汇合在破土前种子正在做的梦里

一次次庆祝生命才是正义

一起庆祝吧我们有自己的节日

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阵容：

王子衡

周日升

梅志勇

永湿者

死劳动

李平

钱赓

傅秀良

NERVE

李剑鸿

荒音祭宣言：

荒音祭是具有流动性质的非livehouse系列演出。之前几次是在地下通道里举办。之后也会在地下通道废墟或者别的随便我们认为合适的地方。

荒音祭主要涉及的风格是噪音、即兴。风格不重要。风格在我看来只是便于分类。和人所用的乐器一样，甚至演奏的方式在我看来也不过如此。最重要是音乐人输出的能量。这要要靠听的人来接收，这种宝石一般的交换关系东西我理解为能量交换和赠予。而想在深夜的旷野里随心所欲的演奏噪音和呼喊的愿望由来已久。我已经有一点厌倦了在封闭空间里同一反复死气沉沉的演出形式了。

虽然都是演奏但可以让欲望像活火山奔流，构建自己需要的装配，不管是在地下通道还是山洞旷野。同时出现的可以有发电机大功率音箱。拿着不同乐器遍布在山里松散的演奏者，既模糊了秩序，也模糊观众和演出者。不再只是密闭空间了而是为噪音装配了旷野和群山，每人各手里都拿着乐器（比如最简单的人声：那是最古老的乐器。哀嚎和呐喊都靠它了）。在群山流动的风和天空下沉浸在噪音里，你有耳朵就可以去听。去听太阳和泉水。

那些没听过噪音或者即兴演出又想参加活动的人。我非常欢迎你们的到来可以说荒音祭最为想接触的就是你们。如果第一次听噪音和即兴就是在现场。无处可逃不得不面对的这些声音，可以让你对这类音乐产生一些兴趣和交流的欲望。或者就算是在骂街，那这场演出对于我来说，就是一场很棒的演出。

在存在中取得最大收获和最大乐趣的秘诀，就是过危险的生活。尼采

野的品质很重要，在我看来在不考虑其他因素的情况下可以说最重要的品质，现代人真性情的流失已经到了无以复加的地步，野生粗糙生命力的美学被一些“更艺术”的审美偏见替换掉了。我想知道那些粗糙的有生命质感的暴力美学的东西野蛮生长的树更有人味儿的树和更有树特质的人在山里能够做些什么呢？你也可以说这个根本是自己骗自己的温室里的危险，但我就是想要试试。

深夜里四处游荡的酒神队伍要把路过的地方都喷撒上了酒遍野酒香袭来然后赤身裸体的在泉水里洗澡和奔跑

在山里潜在的可能性要多的多荒音祭更看重的就是这种可能性一种主动冒险

在旷野里做噪音和自由即兴让我和噪音即兴本来就有的品质对接起来

鼓励大家自己带上手边的乐器什么都行如果有空隙或者你想在别的地方同时和别的音乐家一起演奏那不是更有意思吗

为一起即兴和任何的突发情况做好准备比如时间充足的话其实可以自发的同时多个不同地点的组合和演奏

不只是台上的演奏者和台下的听众我渴望大家一起在混沌中迷失和主动的去冒险形成一个个新的丰饶的块茎。

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英文翻译者张觉：

Nowhere Festival is a series of mobile and non-live house performances, mainly style includes noise, improvisation. From my aspect, style is only for the aim of category, but the power that musicians bring us, is a more precious thing in the process of energy exchange.

It has been a long time that I expect to play noise and shout freely in the wilderness at night, moreover I got a bit tired of being boxed in the repeating and lifeless live house performance.

Although it’s performance, but you could indulge your desire floating as an active volcano, no matter you are in tunnel, cave or wilderness. Players are everywhere in the mountain with their different instruments, combining with generator, high-power speaker and strong alcohol together obfuscate the orders and the bounds of musicians and audiences. The noise is guested with wilderness and mountains instead of the closed space as live house, and everyone has the rights to hold the most traditional instrument, the human voice. You could indulge in the flowing wind and noise under the sky, use your ears to here the sound of the sun and the spring water.

For those who have never experienced the noise and eager to join the festival, I sincerely welcome you. If you here the noise and improvisation actually in the live at the first time, you couldn’t escape from those sounds and it will definitely generate your desire of communicating with the music. Or else, if you would like to curse and swear, it’s all fine, it all will be the part of a great show.

The reasons that we choose the location under the root of Wild Great Wall is because of more stable voltage, bigger speaker, more massive and centralized noise dojo and the reaction with mountains, while the most essential thing is the place is wild, no one to bother, no one will bother you also.

Wildness is crucial, it’s the most important character for the festival. For those rough and life-like things with violence aesthetics, humane trees, and the tree-like human, how could all these exist here, in the mountains?

You might define that it’s just the danger in a greenhouse, only about lying to yourselves, but I still want to try.

It’s about being a animal-like human , you could float with the sunlight, roll in the whirlpool of the noise, and “fart the self-consciousness out”. The surroundings are dressed with the smell of alcohol, you could have a bath in the spring and run nakedly in the wilderness.

The potential possibilities in the mountains are much more than it in the cities, and what the Nowhere Festival want are just the possibilities, the voluntary adventures and the original spirits of noise and improvisation.