同时驾驭十台音箱的低频吉他之王

同时驾驭十台音箱的低频吉他之王

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5月19日,长音金属乐队 Sunn O))) 的组建者 Stephen O’Malley 将在潮潮豆瓣音乐周表演。Sunn O))) 被认为是全世界音量最大的乐队……之一。

 

摇滚乐队都想比赛说自己是最大声的。到底哪支乐队的演出音量最大?其实很难有一个明确的结论。Sunn O))) 和 Swans, My Bloody Valentine, The Who, Motorhead 共同分享着这一名单。不过可惜的是, Sunn O))) 的演出在中国的各位怕是很难有机会看到了,因为单是乐队主脑 Stephen O’Malley 一个人,他极为特殊的设备需求已经把我们这些潮潮音乐周的工作人员搞到头大的不行……

 

不过总算是搞定了,届时大家会在 Stephen O’Malley 背后,看到近十台吉他/贝斯音箱!

 

Sunn O))) 绝对是金属音乐界的异类。金属党中评价不凡,非金属乐迷圈子里亦有一大批拥趸。这种事情很罕见。Stephen O’Malley 的表演有着巨大的投影,巨大的音量,巨大的低频。所以他的演出,不仅在于视觉和听觉,更是一种由低频振动所包裹的触觉感知。带上耳塞吧,但不确定是否有用。

 

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入耳 IN MY EARS #24:金属,人,机器

撰文/Josh Feola 

 

Josh Feola(赵识)住在北京,他既以乐手身份参与及组织摇滚乐和实验音乐演出,同时也是一位优秀的撰稿人,独立运营着音乐网站 pangbianr.com。在每周的专栏[入耳 In My Ears]里,Josh 会以他的独特视角,讲述独立音乐场景中的种种故事,也许还会展示出音乐人、厂牌或是演出场地更加不为人知的一面。

 

推荐曲目:Sunn O)))《BP//Simple》

 

虽然可能不是我最喜欢的音乐类型,但是作为名字来说,我超爱“金属”这个词。“摇滚”是一种运动,“朋克”是关于一个人对音乐的态度,而“金属”则具有一种更极端,更坚硬,更反人类的意味。

 

从这个角度来看,当然有很多的音乐种类其实比金属乐听起来更加“金属”。比如粗噪音和工业音乐,而 Lou Reed 1975年的双张专辑《Metal Machine Music》走的更远。但我还是想不出一个能比“金属”更好的词汇来描述这种音乐。“噪音”可以引发的想象力是不一样的,而“工业”又太过直白。

 

当今,在“金属”这个风格的边缘,有人做出了特别有意思的音乐。其中包括我特别喜欢的 Sunn O))),这支西雅图长音金属乐团的组建者 Stephen O’Malley 将在五月的潮潮豆瓣音乐周表演。Sunn O))) 的名字来自他们喜欢的音响品牌,而他们做音乐的方式就是将吉他接进无数的放大器里面。在 Sunn O))) 之前也有其他基于吉他的长音乐队——比如奥林匹亚的 Earth,绝对是这一领域的先行者——但没有乐队像 Sunn O))) 这样音量巨大,也没有谁把“金属”的意象做到这么极致。

 

 

Sunn O))) 在演出穿着中世纪僧侣的斗篷,整个舞台上弥漫着烟雾,身体(而不只是耳朵)将被巨大的声浪包围。我没有看过 Sunn O))) 的演出,但看过的人都说那是一次超验,“改变了生命”,最近有在欧洲看过他们演出的人在Twitter 上这样说。他们不是第一个用极端的吉他放大器来供奉金属之神的乐队(想想 Black Sabbath 吧!)但他们是第一个追求音量本身(就分贝基本与空间大小而言)的乐队,并成为“长音金属”这一流派的先驱。

 

在他最有名的乐队之外,Stephen O’Malley 还有着很多的分支项目。他在很多的厄运/长音金属乐队里演奏,包括 Burning Witch 和 Khanate,并运作着他的厂牌 Southern Lord 和 Ideologic Organ。作为一个独奏乐手,他和很多世界知名的实验乐手有过合作:日本的噪音乐手 Merzbow,灰野敬二,英国的工业单人团 Nurse With Wound,澳大利亚的多乐器演奏者 Oren Ambarchi,此外还有更多。离我们比较近的是北京的二人组 FM3,Sunn O))) 在2006年的唱佛机混音合集里贡献了一曲(本期推荐曲目)。

 

 

Stephen O’Malley 也将他在当代极端音乐方面的基因渗透在了视觉艺术中。他为很多乐队创作专辑封面,包括挪威的黑金属传奇Burzum,Emperor,美国西北地区的重型同行 Earth,The Melvins。他现在定居法国巴黎,他和很多电影工作者、剧场导演、雕塑家合作,把“金属”的哲学与态度带至更广阔的地带,比烟雾缭绕的现场表演更远。

 

尽管可能不会有 Sunn O))) 那么多的音箱,Stephen O’Malley 的独奏现场依然是机会难得。去听(以及去感受)这位当代金属乐思考者的现场时,记得带耳塞。

 

 

Stephen O’Malley 的独奏表演是在5月19日的潮潮音乐周主舞台(糖果三层) 

 

 

相关页面

Stephen O’Malley

 

关于作者

Josh Feola 是一位音乐人/撰稿人,现居北京。自2010年起,他通过自己的平台“旁边儿”(pangbianr)组织音乐、艺术、电影活动,并先后担任 D-22 与 XP 的演出经理。他的长期项目有撒丽不跳舞实验音乐节(Sally Can't Dance)与北京电子乐偶遇(BEME)。他为以下出版机构撰写过关于音乐、艺术的文章:The Wire,Leap 艺术界,Sixth Tone,Tiny Mix Tapes,他也是纽约观察者报 Gulou View 观点专栏的共同作者之一。作为音乐人,他曾在北京乐队吹万担任鼓手,参与首张专辑《白夜》的录音与巡演;目前他是乐队 Subs、迷走神经的鼓手,也化名 Charm 录音、演出。

 

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IN MY EARS #24: Metal, Man, Machine

by Josh Feola

 

Selected track: Sunn O))) - "BP//Simple"

 

入耳 In My Ears is a weekly music column by Josh Feola 赵识, Beijing-based writer and musician and founder of pangbianr.com

 

 

Though it’s never been my favorite genre, I’ve always loved the word “metal” as the name of a type of music. If “rock’n’roll” refers to movement, and “punk” connotes the style and attitude of a person in relation to the music, “metal” means something extreme, hard, intensely anti-human. 

 

At this point, there are of course other genres that sound more “metal” than Metal. Industrial music and harsh noise are obvious examples, and Lou Reed had already guessed at the furthest edges of what the Metal genre might become in his 1975 double album Metal Machine Music. Still, I can’t think of a better word to describe music that can barely be called music than “Metal”. Noise doesn't have the same imagistic power, and Industrial is a bit too obvious.

 

The Metal that I find most interesting today is the work being done at the genre’s fringes. One of my favorites is Sunn O))), a drone metal band from Seattle whose founder Stephen O’Malley will be playing Douban Music’s Wetware Festival next month. The band took their name from the logo of their preferred brand of guitar amplifier, and crafted their sound by plugging their guitars into an absurd number of these amplifiers. While other bands in the region had experimented with guitar-based drone music before Sunn O))) — Olympia, WA band Earth being a clear forerunner — no one had done so quite so LOUDLY, nor with as obvious a focus on the ritual aspect of Metal.

 

 

Sunn O))) is well known for dressing in druid cowls for their live performances, drenching the stage in smoke and obliterating the air with sound waves meant for the whole body, not the ears. I’ve never seen Sunn O))) live, but people who have typically describe to the experience as transcendental. “Life-changing”, several people on Twitter have said after seeing a recent string of Sunn O))) shows in Europe. They weren’t the first band to leverage the power of extreme amplification in the service of the Metal gods (Black Sabbath guitarist Tony Iommi is famous for this), but they were maybe the first to pursue pure sound volume (in terms of both decibel level and space) as an end in itself, and are considered pioneers and leaders of the drone metal sub-genre today.

 

Stephen O’Malley has a diverse career outside of his most famous band. He’s played in a few other doom and drone metal groups — Burning Witch and Khanate, among others — and has helped midwife other experimental metal into existence through his Southern Lord and Ideologic Organ labels. As a solo musician he’s collaborated with some of the world’s best-known experimentalists, including (and this is a very short list) Japanese noisers Merzbow and Keiji Haino, British industrial band Nurse With Wound, and Australian multi-instrumentalist Oren Ambarchi. Closer to our zone, O’Malley also previously worked with Beijing duo FM3, via Sunn O)))’s contribution to a 2006 album of Buddha Machine remixes (streaming above).

 

 

O’Malley has also significantly altered the DNA of contemporary extreme music through his visual art, creating album covers for Norwegian Black Metal legends Burzum and Emperor, as well as fellow Pacific Northwest heavy-hitters Earth and The Melvins. From his current home base in Paris, he’s also worked with a diverse cast of filmmakers, theater directors and sculptors in a practice that has taken the philosophy and ritual attitude of Metal far beyond what the genre embodied at its origin, and even beyond the standalone spectacle of a smoke-drenched live performance.

 

While we probably won’t get as many amplifiers as we might at a Sunn O))) show, we do get the chance, in seeing O’Malley’s solo set, to hear (more likely: feel in our guts) what’s cooking inside the mind of one of contemporary Metal’s furthest thinkers and hardest workers. Bring earplugs.

 

 

Stephen O'Malley performs at Douban Music’s Wetware Festival on Friday, May 19 at Tango

 

 

Associated pages 

Stephen O’Malley

 

 

About the author

Josh Feola is a writer and musician based in Beijing. He’s organized music, art, and film events in the city since 2010, via his label pangbianr and as booking manager of live music venues D-22 and XP. His ongoing event series include the Sally Can’t Dance experimental music festival and the Beijing Electronic Music Encounter (BEME). He has written about music and art for publications including The Wire, LEAP, Sixth Tone, and Tiny Mix Tapes. He also co-authors the Gulou View opinion column for the New York Observer. As a musician, he formerly played drums in Beijing band Chui Wan, recording on and touring behind their debut album, White Night. He currently plays drums in SUBS and Vagus Nerve, and also records and performs under the name Charm.

 

 

Wetware Douban Music Festival Official Site

English Ticketing - Yoopay

 

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