簡介: Ruins音樂中充滿著天衣無縫的動(dòng)態(tài)主義和極為緊密的張力,它所強(qiáng)調(diào)的不是“死”或“非”的破壞性,也并非那種主題的逆說,而是某種直接的、自然的東西。這種東西也許是人性抑或是生命吧。也許比起這些質(zhì)樸的東西來,(Ruins)音樂中更帶有一些強(qiáng)烈的根源性的粗獷?!毡拘乱魳饭?jié)歐洲之 更多>
Ruins音樂中充滿著天衣無縫的動(dòng)態(tài)主義和極為緊密的張力,它所強(qiáng)調(diào)的不是“死”或“非”的破壞性,也并非那種主題的逆說,而是某種直接的、自然的東西。這種東西也許是人性抑或是生命吧。也許比起這些質(zhì)樸的東西來,(Ruins)音樂中更帶有一些強(qiáng)烈的根源性的粗獷?!毡拘乱魳饭?jié)歐洲之行1999(現(xiàn)場錄音文字說明)
大友良英的噪音美學(xué);灰野敬二﹑南條麻人的迷幻結(jié)它建筑;Acid Mothers Temple的太空搖滾樂章;Sachiko M的Sine Wave波場;Yamatsuka Eye﹑Merzbow的純噪音暴動(dòng);Ghost的Acid-Folk配方;東京“Pal”街的“音響二萬電壓”演出場地;東京迷幻文化的發(fā)源地Modern Music地下音樂專門店;生悅住英夫創(chuàng)辦的獨(dú)立廠牌PSF……。實(shí)在有點(diǎn)不可思議,日本地下音樂的地圖呈現(xiàn)的是一個(gè)紛呈復(fù)雜﹑神秘而深度化的局面。而可以肯定的是,在這塊版圖上,吉田達(dá)也和他的Ruins扮演的是一個(gè)無法被取代的角色:Avant-Rock的領(lǐng)航者!
從Ruins﹑赤天,到身兼南條麻人的High Rish﹑Mainliner﹑Musica Transonic的鼓手,不難發(fā)現(xiàn),一直支持著吉田達(dá)也的,不單單是那套吸納了Rush﹑Pink Floyd﹑King Krimson等樂隊(duì)精髓的鼓法,而是Avant-Guard﹑Improvisation等現(xiàn)代即興演奏的精神。這位有著多重身份的鼓手成長于日本地下音樂剛剛起步的年代,他的音樂影響,來自廣泛而多元的類別:由中世紀(jì)作曲家﹑日本第一代地下樂手,到藍(lán)調(diào)根源﹑爵士巨匠,以至民族音樂及迷幻年代。吉田曾自言:“我十分向往朋克帶出來的力量感,但我并不想做單純的朋克音樂;而真正激發(fā)我創(chuàng)作靈感的應(yīng)該是法國的Prog-Rock樂隊(duì)Magma。”無疑,Magma那仿歌劇的演唱風(fēng)格,演奏時(shí)的即興動(dòng)機(jī),主腦Christian Vander充滿激情的鼓擊無疑對(duì)吉田日后的創(chuàng)作影響甚深。
日本Psychedelic Rock體系其實(shí)是承繼自六十年代的迷幻文化而來。然而這群日本Underground的樂手顯然不滿足于對(duì)Psychedelia的簡單追溯,而是大膽而個(gè)人化地將不同的音樂元素混入其中進(jìn)行實(shí)驗(yàn)。吉田的主要?jiǎng)?chuàng)作基地Ruins,是由低音結(jié)它和鼓組成的二人組合。在Ruins的眾多作品中,樂曲大部份時(shí)間呈現(xiàn)出一種暴烈和狂亂的狀態(tài), 澎湃的Free Form鼓擊在這種急激的Punk Rock骨架中就有著脫胎自Sonic Youth那種對(duì)噪音的即興演奏。
始終相信,不論以何種音樂形式作為手段,日本的地下樂手終究會(huì)殊途同歸于宗教。而所謂的宗教性,其實(shí)只是對(duì)現(xiàn)實(shí)以外的神秘性追求。灰野與南條,用音樂憧憬著比物質(zhì)世界更高層次的存在意識(shí);Acid Mothers Temple的領(lǐng)導(dǎo)者河端一是對(duì)高等智慧的外星生物的幻想;而到了吉田達(dá)也那里,則轉(zhuǎn)化為對(duì)石頭的迷戀。迷信石頭里蘊(yùn)藏著大自然神秘力量的吉田,自1985年組成樂隊(duì)Ruins后,除把樂隊(duì)改名為“廢墟”外,多年來,還一直堅(jiān)持以石頭﹑石佛像或廢墟作專輯的唱片封面。近乎虔誠的固執(zhí)同樣可見于吉田對(duì)Ruins音樂架構(gòu)的設(shè)計(jì)。樂隊(duì)在最初組建時(shí)本打算作三重奏形式,但因?yàn)榻Y(jié)它手在初次排演時(shí)缺席,于是吉田就決定只采用鼓和貝司手搭配的二重奏組成Ruins的陣容,并一直堅(jiān)持至今。雖然,樂隊(duì)的貝司手位置一直以來都處于隨時(shí)變換的狀態(tài),但“鼓打貝司”依然是吉田心目中理想和恒久的搭配。
在音樂層面上,深受日本無浪潮/實(shí)驗(yàn)/前衛(wèi)/鬧核音樂影響的Ruins與吉田的另一支組合赤天(Akaten)來得甚為相似。赤天是一個(gè)純即興的實(shí)驗(yàn)概念,由吉田與結(jié)它手津山篤(Tsuyama Atsushi)于1995年組成。與Ruins一樣,樂隊(duì)同樣堅(jiān)守著吉田二重奏的音樂理念,以Free-Form的鼓擊﹑加入了效果器的貝司或結(jié)它和人聲,演奏出充滿攻擊性與旋律性的Avant-Rock音樂。要區(qū)分Ruins和赤天的音樂,并不是一件容易的事,但吉田從赤天里流露出的那份游戲人間的幽默感相信是區(qū)分兩者的關(guān)鍵。赤天那些短小精悍的作品里,每每充滿著玩世不恭的古怪意念:對(duì)經(jīng)典老歌和民族音樂的肆意“捉弄”;用拉鏈和照相機(jī)的膠片做演奏樂器;由照相機(jī)牌子﹑各式壽司或20世紀(jì)作曲家的生日組成的歌詞……。難以解釋,究竟吉田所執(zhí)行的是周星弛的無厘頭方程式,還是倡導(dǎo)引用和拼貼的后現(xiàn)代理論?
不得不提到的還有吉田的聲音實(shí)驗(yàn)組合Zubi Zuva。其實(shí)早于Ruins和赤天的作品中,已不難發(fā)現(xiàn)吉田對(duì)人聲實(shí)驗(yàn)的濃厚興趣。早年曾學(xué)習(xí)蒙古圖瓦喉唱的吉田在Ruins和赤天的歌唱部分,全是一些自創(chuàng)的語言,以及朋克與歌劇的高低音二重唱,有時(shí)候甚至只是無意義的即興怪叫。而Zubi Zuva里面,則只有三個(gè)人,三把聲音,沒有樂器,以三重唱的形式,在即興瘋狂的叫喊和西藏喇嘛式詠唱下,吉田仿佛在測試和尋找人聲的極限。
除了與原屬的Ruins、赤天陸續(xù)有新作推出外,吉田亦以個(gè)人名義出版唱片,并不斷與包括John Zorn﹑Derek Bailey﹑古館徹夫﹑大友良英、菊地雅章等知名樂手進(jìn)行不同類型的創(chuàng)作。領(lǐng)導(dǎo)著Ruins的同時(shí),吉田也是南條麻人的High Rish﹑Mainliner﹑Musica Transonic的鼓手。此外,他有份參與的組合還有巨人﹑圣家族﹑大山脈X﹑Koenjihyakkei﹑Zubi Zuva等十多隊(duì);風(fēng)格橫跨實(shí)驗(yàn)﹑即興演奏、Free Jazz及Avant-Rock。在頻繁的角色轉(zhuǎn)換之中,吉田的創(chuàng)作力卻絲毫沒見枯竭。而1997年和1999年,吉田和Ruins聯(lián)同其他日本樂手在歐洲地區(qū)舉行的日本新音樂節(jié),對(duì)日本地下音樂的傳播功不可抹。
記憶回到2000年8月13日。吉田帶著Ruins的第四代貝司手佐佐木恒(Hisahsi Sasaki)出現(xiàn)在廣州最小資的環(huán)市路,某酒巴。那是Ruins八場中國巡演的其中一站。當(dāng)晚的人和事,吉田狂噪凌厲的鼓法,佐佐木恒親切的笑容,這一切在執(zhí)筆這篇文章時(shí),又再從那個(gè)被貼上了封印的聲音廢墟中破繭而出。
作者:繆斯
by John Vallier
Ruins (Tatsuya Yoshida (drums/vocals) and Hisashi Sasaki (bass/vocals)) plays a unique form of manic and twisted progressive rock for these millennial times. This duo's compositions are complex and can be disorienting to any listener who is accustomed to less innovative, dynamic, and demanding musics. Yoshida, the founding member of Ruins, formed the band in 1985. Since that time, there have been a number of different bass players, including Ryuichi Masuda, Hisashi Sasaki, and Kimoto Kazuyoshi. Bandleader/drummer/singer Yoshida credits such diverse influences as progressive rock stalwarts Magma, classical composers such as Chopin, and traditional throat singing from Tuva. Though hints of these and other influences (e.g. Bill Bruford, Rush, Pink Floyd, Gong, King Crimson, Magma, Yes, and Genesis) often come through in the Ruins sound, there is no mistaking them for anyone else. Many of their compositions employ odd time signatures, sudden tempo changes, and passages of heavily processed noise. The bass, which unlike most has six strings, is often threaded through various effects. Both members of the band sing vocables that complement one another. These vocables are meant to be nonsensical and that's how they sound and are usually improvised, as are portions of their songs. Their overall sound is chaotic yet precise, noisy yet harmonious, catchy yet repelling, frenetic yet disciplined. As if the demands of Ruins were not enough, both Yoshida and Masuda keep themselves busy with various musical side projects (e.g. Vasilisk, YBO2, Men of the Continent Versus the Mountain Women). From time to time, Ruins will collaborate with others. These people have included saxophonist/producer John Zorn, keyboardist Kenichi Oguchi, vocalists Eleonola Emi and Aki Kubota, the acrobatic punkers Schlong, Kazutoki Umezu, producer Steve Albini, and guitarists Derek Bailey and Jason Willet. Ruins have many releases in the form of singles, collaborations, and full-length CDs. Among these full-length albums are Stonehenge (1990), Burning Stone (1992), Refusal Fossil (1997), and Symphonica (1998). Pallaschtom followed, comprised of three tracks: a classical music medley, a hard rock medley, and a progressive rock medley. They were critically celebrated and found time to release a compilation of their rareties, titled 1986-1992, in the spring of 2002. Several months later, Tzomborgha appeared.