冷热兄弟的今日谱系|专栏

冷热兄弟的今日谱系|专栏

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入耳 IN MY EARS #30:冷热兄弟的今日谱系

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。

 

For English Please Scroll Down

 

推荐曲目:Simon Frank - “Good Taste is Worthless”

 

我在北京的这些年里,弗兰克兄弟(aka. 冷热兄弟)可以说差不多算是一种持续的“入耳”。在我第一次造访北京的时候——那是2007年的12月——我在一个朋友的推荐下去了 D-22。我记得特别清楚,那天开场的是 Hot & Cold,Joshua Frank 和  Simon Frank 兄弟俩的二人乐队,他们演了一个特别野的无浪潮噪音现场,中间还播放了“糖炒栗子”的街头吆喝采样。之后是硬件噪音组麻沸散,那是一次真正的精神错乱。我还能清楚地记得其主脑李杨漾在台上的样子,他穿着蓝色的弹力裤,戴着假眼大眼镜,就像被触电了似的。

 

Hot & Cold 在 D-22

 

等到我2009年搬到北京以后,D-22 很快就成了我的第二个家,很大程度是要感谢那一回的第一印象;而能去深入这个北京的场景则是源于“玫瑰楼模拟录音”,这个短命的组织/磁带厂牌由冷热兄弟、苏维埃·波普、憬观:像同叠共同运作。苏维埃·波普是李青和李维思的二人组,他们俩也是 Snapline 的成员和 Carsick Cars 的原始成员;憬观:像同叠是一个香港的三人组,带着一种灰色、粗砺的,富有创造力的可能性,他们搬来了北京。还有朱文博所策划的早期燥眠夜现场,对我来说那是北京音乐的黄金时代,每个周二都会有新的成员、新的乐器、新的声音、新的想法,带来脑洞大开的新组合。也是在这段时期,我成为了 Hot & Cold 的一位铁粉,特别是他们2010年在玫瑰楼发行的那张磁带《Conclusion/Introduction》,里面的那首《Uighur Pop》简直就是我二十五六岁那几年的背景音乐。

 

玫瑰楼模拟录音

 

但是现在,它们都已是古老的历史。玫瑰楼仅仅活跃了一年,然后就像磁带一样开始消磁;燥眠夜现在不做演出了;D-22 早就关门了,它的后身XP也在两年前关门了。我的黄金时代早已终结。我的回忆太多都可以写一本书了,总有一天我会写的,不过现在我们还是把注意力放在冷热兄弟这两年的动作上吧。

 

任何关心北京“后XP时代”的人都知道,之前的那些人现在去了 fRUITYSPACE。后来出来的那些乐队乐手里,包括燥眠夜停止演出之后衍生出来的那些缓慢的,着重于极简反馈的项目,我最喜欢的是工工工。工工工堪称玫瑰楼的传奇组合,Hot & Cold 的 Josh Frank 弹贝斯,憬观:像同叠的阿基弹吉他。这两位有他们自己的简约主义,但亦是工匠,精于从那些简单的元素里提炼出鲜活的曲调。他们可能是这几年组建的北京乐队里我最喜欢的一个,因为他们有着自己独有的风格,并不去迎合北京地下摇滚圈或是实验场景里的时兴口味。他们最直接的影响就是两位成员此前各自的项目。我喜欢 Hot & Cold 和憬观:像同叠,因此毫不意外,我可以从中听到两个乐队中最精华的元素。

 

工工工  photo by 大叔

 

Josh Frank 扎根北京已经好几年了,而在此期间他的弟弟 Simon 一直四处漂泊。他在英国待了一段时间,现在住在了台北,和当地场景里的人一起玩。他刚刚发行了《Humid Music(潮湿音乐)》,随即也成为了我的夏日背景音乐——部分原因是因为,这个夏天真的太他妈的潮湿了,另外也是因为,这张专辑和去年12月工工工发行的磁带《总统琴行》一道,在让我怀旧之外,也展现了他们成熟的演化与清晰的方向——这些音乐人我已经关注了十年了。

 

Simon 的《Humid Music》

 

工工工《总统琴行》

 

在 Hot & Cold 之外,我也一直很欣赏 Simon 的单人作品。在这张新的磁带里(对,这帮人真的是特别喜欢磁带),Simon 从全球的电子乐先驱中汲取了足够多,将歌曲抛光推进,某种程度上更成熟了,但仍不乏粗砺与 lo-fi。这是一种能让人出汗但不太适合跳舞的音乐,一种我年过31时的理想类型。

 

《Humid Music》的磁带

 

可以听听专辑里的这首《Good Taste is Worthless》,里面有一个采样是工工工演出时阿基的一句吆喝。如果你想对冷热兄弟的今日谱系挖掘的更深一些,可以听听 Love Theme,这个三重奏的成员里有 Simon 和张洪泰(Dirty Beaches)。如果你想对台北的地下场景了解更多一些,不妨去关注 Lonely God Records。这个厂牌发行了 Simon 的最新专辑,同时也有很多台湾这两年的实验电子相关发行。

 

工工工  photo by 汤庭 

 

Simon Frank

 

 

相关页面

 

Simon Frank - “Humid Music”

https://lonelygodrecords.bandcamp.com/album/humid-music

工工工

http://gonggonggong.bandcamp.com

Lonely God Records

https://lonelygodrecords.bandcamp.com

Love Theme

https://lovetheme-alter.bandcamp.com/album/love-theme

Rose Mansion Analog

https://soundcloud.com/rose-mansion-analog

Zoomin’ Night

http://zoominnight.bandcamp.com

 

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 #30: Humid Music

by Josh Feola

 

Selected track:Simon Frank - “Good Taste is Worthless”

 

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

 

The Frank brothers have been a near-constant in my ears for the entire time I’ve been in Beijing. On my very first visit here, in December 2007, I went to D-22 on the recommendation of a friend. I remember it well. Hot & Cold — the duo of brothers Joshua and Simon Frank — opened, playing a rough, No Wave-y noise set interspersed with samples of tangchao lizi street vendors. They were followed by a particularly unhinged set by harsh noise crew Mafeisan, whose leader Yangyang I vividly remember staggering around D-22’s stage as if he was being electrocuted, wearing blue spandex pants and googley-eye glasses.

 

Hot & Cold at D-22

 

After moving to Beijing in 2009, D-22 quickly became my second home, thanks in part to this fascinating first experience. I was sucked into the Beijing music scene for good by Rose Mansion Analog, a short-lived collective/cassette label that was co-operated by Hot & Cold, Soviet Pop (Li Qing and Li Weisi of Snapline/original Carsick Cars), and the Offset: Spectacles, a trio of Hong Kong transplants attracted to Beijing by the promise of grayer, grittier creative possibilities. This was a golden age of Beijing music for me, the early days of Zhu Wenbo’s Zoomin’ Night when every Tuesday promised a mind-expanding new combination of people, instruments, sounds and ideas. During this time I became a true blue Hot & Cold fan, especially of their sound as enshrined on their 2010 Rose Mansion cassette Conclusion/Introduction. Their song “Uighur Pop” was kind of the soundtrack to my mid-20s.

 

Rose Mansion

 

But that’s all ancient history, in Beijing time. Rose Mansion faded away like so much cassette-tape sizzle after barely over a year of activity. Zoomin’ Night isn’t a gig series anymore, D-22 is long dead and its successor XP closed almost exactly two years ago. Those golden days now feel to me like they’ve definitively ended. I have enough memories of them to fill a book, which I’ll probably do one day. But for now let’s train our attention on what the Frank brothers have been up to more recently.

 

Anyone who’s kept tabs on the post-XP diaspora in Beijing knows that most of its refugees have washed up at fRUITYSPACE. And of all the bands and artists and long, slow, minimal-feedback-obsessed projects that have evolved since Zoomin’ Night stopped being a weekly show, my favorite to emerge has been 工工工, a kind of Rose Mansion legacy project featuring Hot & Cold’s Josh Frank on bass and Offset: Spectacles’ Tom Ng on guitar. These two are minimalists in their way, but also craftsmen, experts at carving a fully fleshed tune from the simplest of inputs. They’re probably my favorite Beijing band formed in the last few years, since their style is all their own and they don’t cater to the prevailing tastes of Beijing’s underground rock or experimental scenes. Their most immediate influences are their own members’ previous projects: since I loved Hot & Cold and the Offsets, it’s not a big surprise I dig the distilled elements of some of the best parts of both.

 

工工工  photo by Da Shu

 

While Josh Frank has been solidly Beijing-based for years now, his brother Simon has been more of a floating presence. After some time spent in the UK he recently settled in Taipei, and has been digging into the local scene there. He just released Humid Music, which has immediately become my summer soundtrack, both because it’s fucking humid this summer and because it, like 工工工’s President Piano Co. Tape from last December, rings the right nostalgic bells for me while also indicating a clear direction, a maturation and evolution of an artist I’ve been following for almost a decade now.

 

Simon's Humid Music

 

工工工's President Piano Co. Tape

 

Parallel to Hot & Cold, I’ve always enjoyed Simon’s solo work, and on this new cassette (these guys really love cassettes) he’s absorbed just enough from the global electronic music vanguard to make these songs polished and propulsive, somehow more grown-up, but no less jagged or lo-fi. This is music to sweat to but not necessarily dance to, kind of my ideal genre as I turn 31.

 

Cassette of Humid Music

 

Enjoy the selected track, “Good Taste is Worthless”, which features a sample of Tom grunting at a 工工工 show. If you want to delve deeper into the modern-day Frank-o-sphere, check out Love Theme, a trio Simon recently formed with Alex Zhang Hungtai (Dirty Beaches). And if you want to explore more of what’s happening on the subterranean level in Taipei, poke around the Bandcamp of Lonely God Records, which put out Simon’s latest and has a few releases by experimental electronic-leaning Taiwanese artists scheduled for later in the year.

 

工工工  photo by Tang Ting

 

Simon Frank

 

 

Associated pages

 

Simon Frank - “Humid Music”

https://lonelygodrecords.bandcamp.com/album/humid-music

工工工

http://gonggonggong.bandcamp.com

Lonely God Records

https://lonelygodrecords.bandcamp.com

Love Theme

https://lovetheme-alter.bandcamp.com/album/love-theme

Rose Mansion Analog

https://soundcloud.com/rose-mansion-analog

Zoomin’ Night

http://zoominnight.bandcamp.com

 

 

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.

 

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