《内心的噪音》书评

内心的噪音

本书收入了“忧郁的狂犬”、“崔健之后”、“弹吉他的人”、“摇滚乐在中国的可能性”、“粉红色的梦：评窦唯《艳阳天》”、“比失败更不可原谅的：评臧天朔《我这十年》”等乐评文章。一部摇滚乐经典著作。购买地址：http://item.taobao.com/auction/item_detail-0db2-dc3ab039bca08fefa16328fae838f636.htm

贴一篇几年前给英国杂志的文章，颜峻写的，我翻译的

The Sound From My Inner Self By Jun Yan Fed up with my job as a paleface editor of The Lanzhou Evening Paper, I exiled myself 2000 kilometers away from my hometown to Beijing, on behalf of a girl who claimed to love me. A month passed swiftly, and love and life went all to hell, hand in hand. I borrowed money from friends to rent an apartment and began to contrive a brave new life. Dickson, a man from the Hong Kang Sound Factory (now the Noise Asia), walked into my life: “Wanna do something cool? How about a live show of Otomo Yoshihide?" Of course! Though we only had ten days to prepare I accepted without hesitation. For a music critic like me, who had just sold, at great cost to his soul, 500 essential music albums from his collection, what could give him a high to compare with learning strange cooking skills? A show cooler than self-destruction, and hotter than eccentric cuisine might do the trick. And anyway, if I ducked this delicious opportunity, in a city like Beijing someone else would be sure to have stepped right up. In any case, I desperately wanted to see Otomo. Things happened. At top speed. A new friend found the first venue, and then, by a curious coincidence, found Zhenhua Li, who was then working as a music planner in a club and he helped us find a second venue. No posters, no mailing lists, only a few announcements in newspapers and magazines to let local music fanatics know where the action was. Up to that point, no such shows and musicians had ever landed up in Beijing. It was true that John Zorn and Yamasuka Eye had visited Beijing in 1993, but at the time we did not even know who the hell they were. We saw them as foreign giant pandas at the Beijing International Jazz Festival. No one appreciated their music as Music, except for a handful of exceptionally hip musicians, and a few students driven by curiosity, who went for the thrill of the bizarre. And in any case, the tickets were four times the price of a rock and roll show. On August 27, we had already sold 19 tickets. In the almost empty Volcano Club, Otomo, his girlfriend, Sachiko M and Dickson stood behind a table 5 yards long. . . . Dickson’s ghostly 808, CD player and turntable roared first. His drifting noises converged into a huge wave. Then poured his “Filament”. When Otomo began to abuse the turntable with shackles, cymbals and other hardware, our eyes were fixed on him, expecting something to happen: an explosion, a sharp rupture, or the backfiring of one of his outrageous techniques. But what we witnessed instead was the birth of an infinite space of sound. We were confronted with bunch of his fancy “toys” as well as real instruments; we were hearing the music he had composed for Blue Kite’s films. Dynamical moves were on a sublime scale, tonalities were coarse, and the music twisted and turned like someone cutting a fancy paper doll. By contrast, Sachiko M didn’t make her music howl. Her “sine waves” were a radiant, tantalizing counterpoint to Otomo’s powerful blows. Yes, they blew my mind. Otomo reloaded with his guitars. He knew how to play guitars in every possible way, including the normal one. In about 5 minutes, he played with his knees, scratched with hooks, and beat with hands and arms. He tortured guitars. Musical notes rolled into each other, whipped up by a mad conjuror trying to make an airport fly. It is true that some ordinary rock and roll shows had really gotten to me before this one, a Czech two-man band called Sabot, for instance. But their great show was still too early for me! Too early to be not crazy! I was shook up and exhausted. But Otomo’s final guitar stroke found me suddenly exalted to a state of pure energy. Something quite different had happened at that moment, something way beyond mere improvisation. Rather, it pulled up a new idea of order in nature itself, a wave of living instinct. For the second concert, we sold four tickets. Twenty back-up friends and reporters constituted the whole audience. And ten minutes after the show started, a famous Chinese rapper rushed out, shouting, “Refund my money! I thought I bought a ticket to hear some music! This stuff isn’t music at all!” Never mind. I did not have time to argue with such a big mouth. Sachiko was playing a greater role than she had done in the first show, emerging herself into the sine waves? I always feel driven to describe her performance using a Tai Chi phrase, “four liang beats one thousand jin.” Oh, one accurate stroke fells a great oak; butterfly wings cause a storm in a remote continent; a mosquito defeats a lion; small moves in our eyes and little drops of ghostly sounds measure the circulation of the planet. In a later interview, Otomo said, “Now. . . let me hold one note for a rather long period of time, for it comes from my inner self.” That is exactly what I want. What he calls a “Post Sample” is a quiet moment, embedded in an ocean of noise. In fact, that is also my own understanding of the sound of Zen. Volumes of sounds are not essential because they are always relative. . . . The key is that it MUST come from within. Ever since that day, I have been freely cutting up experimental, avant-garde, improvisation and noises into my own sound-vision. I have stopped wasting time on Rock and Roll抯 conventional techniques and shallow lyrics. I keep an eye on Otomo and Sachiko, enjoying their new albums and live performances. Yet what I learned from them is not music, but a sense of what it is to open the body to the infinite in a blink, to transcend all boundaries, to approach the order of nature, and to listen, modestly and gracefully, so as to produce new sounds.

一本老书

作为中国摇滚不可缺少的人物，颜峻做出了他的努力。这个兰州的胖子带了几个集装箱的书和CD杀气腾腾的奔向首都。折腾诺干年，我们看到了《铁血摇滚》《内心的噪音》《地地下》等等。中国最尖锐的乐评人。我只能这样称赞他。外文出版社出版，370页图书+1CD。付：CD曲目：1 左小祖咒——《招牌》（独奏版）Zuo-xiao Zu-zhou——Signboard (solo edition)2 丰——《再见吧，妈妈》（1997）Feng——Bye-bye Mama3 另外两位同志——《系统开发人员被困·2》（1999）The Other Two Comrades——System Developer Is Surrounded·24 朱振乾——《M》Zhu Zhen-qian——M.5 舌头——《乌鸦》The Tongue——The Crows6 诱导社——《脑体下垂运动》You Dao She——Down Exercise Of Brain Body7 王磊——《辨证的狗》Wang Lei——Dialectical Dogs8 杨韬——《S.U.B.》Yang Tao——S.U.B.9 局外人——《Never Forget It》Ronez & Maya——Never Forget It10 胡吗个——《我看过〈捆着我，绑着我〉/婚前协议》（1999）Hu Ma-ge——I Had Watched "TIE ME UP! TIE ME DOWN!" / Agreement Before Marriage11 虞志勇——《门·2》Yu Zhi-yong——Gate·212 王凡——《噪声时代》Wang Fan——The Era Of Noise Sound除注明外，所有作品创作、演奏（唱）、录音、混音：各乐队（艺人）；《乌鸦》录音、混音：王凡；《我看过〈捆着我，绑着我〉/婚前协议》混音：王凡；《脑体下垂运动》录音、混音：丰江舟。All tracks composed, performed, recorded and mixed by the bands or artists as index. Except THE CROWS recorded and mixed by Wang Fan, I HAD WATCHED "TIE ME UP! TIE ME DOWN!" / AGREEMENT BEFORE MARRIAGE mixed by Wang Fan, DOWN EXERCISE OF BRAIN BODY recorded and mixed by Feng Jiang-zhou.所有作品母带处理：丰江舟。All track mastered by Feng Jiang-zhou.编辑：颜峻Edited by Yan Jun.制作：SUB JAMProduced by SUB JAM Production.版权保留：所有作品一切相关著作权由乐队（艺人）保留。Copyright Control: All kinds of copyright of this recording are owned by the bands or atists as index.SUB JAM 001 2000/09CD封套设计：CD cover designed by Luo Hong部分歌词招牌（左小祖咒）我们高举思想者的长矛拨开人类视网膜里的壮丽彩虹是那依旧如新布满血丝的眼眸在欲望的悬崖上捡起金拾起银在权力的帷幕后面是相同的人头名利场上的鼓舞者是可笑的金喇叭脑体下垂运动（诱导社）Oh-yeah，我佩服你是个官场之中的老手Oh-yeah，我羡慕你光滑油亮的背头Oh-yeah，我特别渴望你是我的干爸Oh-yeah，我欣赏你走时伟岸的背影Oh-yeah，把我的头塞入我的裆下Oh-yeah，让我看看倒立的伟人Oh-yeah，让我看看赞美的歌颂Oh-yeah，他的裆下伸出了手伸向了人民Oh-yeah，我佩服你是个官场之中的高手Oh-yeah，我羡慕你是个妓馆之中的老炮Oh-yeah，我特别渴望你是人民的公仆Oh-yeah，让我想想你他妈独裁的操行Oh-yeah，你只是一个性欲减退的老BOh-yeah，我只是一个社会主义的杂种Oh-yeah，我对他妈生活充满了快乐Oh-yeah，你玩着睾丸的手蒙住了我的双眼的墨镜乌鸦（舌头）我要像乌鸦那样善良我要像乌鸦那样复杂我要把沉默当作哮喘我要把走火当作准确我要像乌鸦那样善良我要像乌鸦那样复杂我要把乌鸦当作使者我要把乌鸦当作证据我要以人类的名义放飞一群群乌鸦我想不管怎样，这次该轮到他们了我要以人类的名义放飞一群群乌鸦我想不管怎样，轮也该轮到他们了啊我看过《捆着我，绑着我》（胡吗个）青年域奇说的是西班牙语正好说中我的心事“我叫域奇，今年23岁（可吗个已经26了！）我有5万披索，在这个世界上我孤身一个我要做你的好丈夫我要做你孩子的好父亲相信你会像我爱你那样爱上我。”“那好吧！恩，咱们得签一份婚前协议，这是两个美国人的，你看看，参考一下！”婚前协议（胡吗个）每周房事不得少于三次，但每晚不得多于两次；双方有权利和义务为对方掏耳朵、剪指甲、做全方位按摩；吹口哨、唱歌、打色情电话不致惹对方烦恼；一方讲笑话，不论是否好笑，另一方必须象征性地笑几声；打嗝、放屁、唱摇滚最好去洗手间里完成；搞好计划生育，认真贯彻“要想早致富，少生孩子多养猪”；周末，拉上窗帘，尽可能少的穿衣服，最好裸行；提倡勤俭节约，提倡移风易俗，也提倡一夜风流；搞好个人卫生，出门擦香香，一则体面，二则不脸红；爱惜生命，过马路，左右看，小心警察开车撞人；相信科学，相信不久的将来，能定期做性别互换；（不练××功，7月23日补记）四十岁去染发，六十岁去吸毒，七十岁搬到红灯区去住。其他作品歌词略需要这本书的朋友可以联系我QQ 14236372

一个无政府主义者的变形记

一个无政府主义者的变形记 　王　敖颜峻有理由为他的多重身份感到自豪。新生代诗人，资深乐评，访谈专家摇滚圈交际花，网路上的后现代神仙，还有Sub Jam地下印刷厂的设计师---- 他扛着这些头衔疯狂朗诵，聚众乱飞，发胖，并倒退着向中年迈进。 回顾颜峻走出兰州之后的所作所为，我觉得他已经 变成90年代以降的中国另类文化的一个活标本---他本人比他推荐的乐队更有意义。而他鬼怪附体般的的活力也让我产生了拿他做活体解剖的冲动。如果把颜峻捆起来并施行催眠，然后用电极刺激他的神经，让他即兴发表演说，也许他会为我们道出关于新一代城乡另类以及下层土摇滚的真谛，我希望那是新型的中国无政府思想的零部件。 作为诗人的颜峻写过很多诗，但作为乐评人的颜峻写的并不是乐评。 起码我没有在<<内心的噪音>>这本书里面看到乐评。我相信，他和我一样属于70年代出生，80年代听流行，90年代听摇滚并上大学的一代青年。 我们的变态成长轨迹大概和土摇滚发迹壮大的历史平行。我们都比崔健年轻，多年来通过各种渠道获取打口盗版来了解西方摇滚乐，甚至拿起吉他弹SOLO，但最终我们是音乐上的外行，如果说受过正规音乐训练的人算内行并有权以此骄人的话，我们还是当外行吧。世界上很多事情都是由所谓的“伟大的外行”做成的，伟大的内行毕竟太少了。 已经2002年了，我还在照着六线谱(注意，我不懂五线谱)弹范海轮的曲子。 当然，我是外行。都什么年代了，还磕重金属，是啊.....想怀旧的时候，我就弹重金属，或者打开颜峻的书--那几乎是一幅微缩的多维画，涂满了我们曾经熟悉的旋律和符号。 当年的颜峻，在文章中引用着西川王家新制作的警句，他也曾经和崔健一起为理想主义感到迷茫，他又主动兼被动地接受法兰克福学派的美学理论，他一往情深地迷恋着福科的批评观念，他还幻想自己是 威廉巴勒斯，由佩蒂史密斯带进朋克聚会并接受群魔的欢呼致敬。尽管文字上充满讽刺和吊诡，颜峻从音乐的角度对当代文化的批评仍然是一种有风度的挣扎--在国际学术资本包装过的批评武器和他必须面对的批评对象之间似乎存在着一种阴险的共谋。意识到这一点之后，颜峻改装 了巴黎学生的口号，得出一句：没有朋克理论，只有朋克行动。但这还不够，他又想起德勒兹的训诫：以别人的名义说话是可耻的。是的，个体代表自己没有人有权力代表别人，这当然不是德勒兹的发明，无政府主义的理想之一就是不被别人代表，每个人都发现自身独一无二的特质，并在一个没有任何权威的社会中任意发出自己的声音。那不存在的朋克理论是什么，如果朋克仅仅被理解为一种文化上的颠覆，自我人格的撕裂等等纯然否定意义上的对抗行为，那么，这种对朋克的阐释就是朋克理论。经过简化之后推出傻瓜公式：要当朋克，只要跟着朋克胡闹就可以了。 朋克没有朋克理论，但朋克有无政府理想。巴勒斯在<<红色天空的城市>> 里面说的“没什么是真的，一切都被允许”就是他麾下朋克们的福音，这 并非一种虚无主义，巴勒斯企图做的是复活世界各地的邪灵与异教的神，还有在法国大革命前就挂起黑旗出海航行解放全世界建立平等世界的并被误认为海盗的船长--他那曾经存在过的300多个分散在世界各地的据点，让巴勒斯发出长叹，“如果他成功了，那么我们面对的将是另一个世界。” 是啊，无政府的黑旗曾经飘扬过，不但在西方，而且在中国。它在中国曾经开辟过广阔的战场，而不幸称为中国共产主义运动的影子战士。20世纪初期，中国无政府主义者提供了至关重要的社会革命话语。在巴黎的中国无政府主义者就象普罗米修斯一样思考着未来几百年的乌托邦并启动了勤工俭学计划，为后来的革命培养了大批干将。而留学东京的无政府主义者则象是普罗米修斯的弟弟，他们回顾着农牧田园， 融和佛道和革命意识， 并激烈的反对现代社会。正象阿里夫德里克所说，无政府主义者的思想和行动给中国的社会革命提供了巨大的动力。伟大的无政府主义者蔡元陪本可以把北大彻底变成无政府的试验田，同样可惜的是， 领袖人物刘师复的英年早逝造成无法挽回的损失。 李大钊用无政府的克鲁泡特金的互助思想改造阶级斗争理论，但他的学生们更关注党内外的权力斗争。而毛泽东在建国后无政府意识死灰复燃， 结果也没起好作用。 无政府主义者组织学生去法国勤工俭学，试验新型 教育，而毛用极权手段命令学生下乡，造反。 那个年代大概算是我们土摇滚的史前史阶段。后来崔健红旗下的蛋孵化出的并非失去共产主义大方向的鸽子，土摇滚的乌合之众里面还是出现了几只无政府的黑凤凰。 吴稚晖说如果人人都象刘师复那样有觉悟，那无政府主义500年可以实现 否则需要3000年。他的话象是痛切的自嘲，但可以被理解为一种悲哀中的骄傲预言。 无政府精神在东方存在原始的根源，在印度，中国，日本从来都不缺少它的土壤。有论者把无政府主义与佛道思想相比较，得出一种符合文化精英主义的解释，当然有道理但并不全面。 在地方或者说民间层面上，中国人有自己的无政府精神。 中文里无政府这个词来源于日本，它原本是一种直译而非意译。无政府反对的不仅仅是政府而且是一切权威，一切奴役人类异化个体的力量。 这种精神在中国是存在的。比如在明代的罗教创始人罗清那里，教徒修行的最终目的就是让人在思想上行为上都能够“自在纵横，了无障碍”，尽管这种思想中有很多禅宗的因素，而且在体系上也存在欠缺但在社会观念和组织行为上它比其他任何一种民间宗教做得都彻底。无论是政府还是跟政府合作的主流宗教都把罗清的教派视为恶魔。这位山东籍的退伍军人有着包括“悟空祖师”在内的几十个名字，并被官方确认为“万魔之祖”。他的门徒熟谙盗版印刷技术，用伪造的皇帝诏书自我赞颂并把自己写的经典混入大藏印行天下，他们唱着自己的救世之歌，一直斗争到底，分支教派演化成近世以来的各种积极参与历次革命的帮会团体， 比如赫赫有名的青帮，他们往往把罗清奉为始祖之一。 当我们看到有人用简陋的乐器制作古怪骇人的声音，我们会猜测他的动机。在艺术和美学的内外，社会政治的力量永远存在。这里说的政治可以是一种文化政治，当然也可以是一种个体的微观政治学。当我们看到一群人在制造各种奇怪的声音，这意味着一种意识形态。当兰州退伍军人王凡的嗓子发出催眠观众的特殊震动的时候，一种融合了民间古老传统和无政府理想的光辉照亮了我们背后的黑旗。 而颜峻意识到了这一点。除了计算所谓的纯艺术和商业的百分比之外，我们还能做什么。当制造另类的逻辑根本就不再是秘密，当非主流已经成为主流的预科，我们还能做什么。我们面对的是这样一个世界，它绝对比中世纪黑暗。当颜峻终于放下他给媒体写的流行乐评， 开始Sub Jam的地下印刷和音响制造的时候，我想，巴枯宁临死说的话很对，一切都将消灭， 但莫扎特会永存。无政府主义这3000年是不会实现了，但它的精神会一直存在下去，即使人类已经不存在， 那种声音仍然会被我们的世界制造出来。 2002年2月27日于圣路意斯

在学校的图书管发现了她

呵呵，说来看这本书也感觉挺好玩的，在我们学校的图书管里看到的，我们学校只是一个垃圾学校图也没几本，还有好多六几年七几年时图书管的底子呢，但是能让我发现这本书感动了好久，看了二三遍感觉非常不错，看完了再找了找又找到了崔健和周国平写的那个《自由风格》后来又喜欢上了周国平写的关于尼采的东西喜欢上了些哲学的东西，呵呵，感觉大学真让我没白上，呵。