第二届明天音乐节已经过去了一个多月，对我们来说，种种情景仍然历历在目。前不久，我们获知音乐节期间被我们邀请作讲座嘉宾的Chris Bohn先生（笔名Biba Kopf）在英国知名当代音乐杂志《The Wire》上专门撰文描写了明天音乐节，文章刊载于2015年7月号（总337期）的Global Ear栏目。

Chris在文章开头描述了他初到深圳的印象——

“Time passes slowly up here on this hill station-like retreat in Shenzhen across the border from Hong Kong in southern China – much to the annoyance of the drivers blasting out atonal city symphonies on car horns as they’re locked into their hometime crawl. These sloping streets were never designed to cope with the ever-increasing traffic streaming in from the megalopolis below as it winds down for the day. Eyeing pedestrians like myself as we languidly overtake them must surely add to the drivers’ irritation – even as they watch us wilt in the subtropical humidity.”

“越过香港到达中国南边的深圳，下班高峰期缓慢爬行在回家路上的汽车们，不断鸣奏出恼人的无调性都市交响曲。相比之下，时间在这个山庄般的幽静之地似乎流逝得格外缓慢。这些倾斜的街道，似乎是刻意与这些从这个巨大都市不断涌入、并且不断壮大的车流作对似的，终日蜿蜒。司机们看到我们这群东张西望的路人懒洋洋地步行着超过了他们，肯定更加焦躁了，尽管他们也看着我们一点点萎蔫在这亚热带的湿热空气里。”

他在导语中说道：“明天音乐节因众多国际化的艺术家参与而激荡出蓬勃的生命力”，在文章中也肯定了主办方的节目编排——

“The organisers’ international remit is to present a range of non-mainstream musics, be it free jazz, experimental, avant garde or punk.

Now in its second year, the programme includes a solo performance from French harpist Hélène Breschand, wedding party songs from Ghana’s King Ayisoba, an audiovisual extravaganza from the Lithuanian duo Metroscan, Lebanese broken beats from Tarek Atoui, contemporary progressive rock played at breakneck speed over rhythms turned on a dime by the Japanese trio Sajjanu, and some fabulously silly hardcore punk from a Belgrade based trio called Repetitor. ”

“主办方的国际化视野体现在其致力于呈现一系列的非主流音乐，包括自由爵士、实验音乐、前卫音乐和朋克等等。

明天音乐节已跨入第二个年头，今年的节目包括法国Hélène Breschand的竖琴独奏，King Ayisoba带来的加纳婚庆小曲儿，立陶宛二重奏Metroscan的视听盛宴，黎巴嫩Tarek Atoui的破碎节拍，日本三重奏Sajjanu以惊人高速演奏出的节奏极富变化的当代前卫摇滚，以及贝尔格莱德Repetitor献演的无比莽撞却极富魅力的硬核朋克。”

“…so Tomorrow’s festival bill provides some context for understanding worlds in which the likes of Nanyin Yayi Musical Association and TAT can coexist, not to mention the international musicians and artists they temporarily live alongside for the duration of the festival. It also opens a window on the broader culture inside which the festival organisers from B10 have to work. ”

“所以说，明天音乐节创造了一种包容的语境，让像南音雅艺和TAT这样的乐队能够共存，更不必说那些因为这个音乐节而短暂集结于此的各国音乐人和艺术家。它同时也在更广义的文化上开了一扇窗，而那也正是这些来自B10现场的音乐节的组织者们必须努力耕耘的土壤。”

他用浓重的笔墨描写了令他印象最为深刻的TAT（锈）乐队——

“The B10 Live venue where I’m heading resides in relative tranquillity at the other end of a street market selling handmade jewellery, clothing and artsy curios. So far, so global village. But the group about to inaugurate the Tomorrow Festival occupying B10 for the next four nights seemingly come from another time and place. Named TAT, which we’re told is Kazakh for rust, they’re a drum and bass duo from Xinjiang province in far western China. For the duration of their performance they stay hidden behind a gauze curtain, their physical presence only registering in the slow flickering movement of their gaunt, misshapen silhouettes. Hunched over their instruments, they churn out body-aching rhythms of labour far removed from the casual pleasures of making a living, comfortable or otherwise, in the congenial atmosphere of the street market on the other side of the door. ”

“我将要前往的地方是B10现场，它安静地坐落在一条街市的尽头。市集上销售着各种手工制作的珠宝首饰、服装和艺术珍玩，此情此景，给人浓浓的“地球村”之感。在接下来的连续四个晚上，明天音乐节将在B10现场上演，而即将为其拉开序幕的这队人马，则仿佛自一个完全不同的时空。这支乐队名为“TAT”，我们得知这在哈萨克语中意为“锈”。该乐队的配置为鼓和贝斯，他们来自中国西部。整个演出过程中他们都藏身于一块薄幕之后，他们有形存在的唯一印记，便是那苍凉瘦削、状貌诡异的轮廓，在缓慢的明晦变换之中摇曳。他们躬身于乐器之前，弹拨敲打之间，直击身心的节奏汹涌而出，无心冒犯，也无意取悦；而这种来自灵魂深处的艰难分娩，已然超脱于一门之隔市集上那种其乐融融的平凡劳碌。”

“On first exposure, TAT’s rhythmic rushes feel somewhat awkward, like they’re being hacked out by outsiders a little embarrassed to be having to work with primitive tools left behind by the progressive society in which they currently find themselves. Over patterns of beats sounding like felled trees, the duo’s driving force Mamer draws howling ur-industrial noises from his customised bass that simultaneously evoke an earlier factory age and the ways of life lost in the advance of modernisation. Not without irony, TAT’s music lays down grave markers both for history’s modernisers and the victims of modernisation. ”

“初次接触，TAT那富有节奏的急促声响竟在某种程度上听起来有些尴尬。这声响，仿佛是这两个局外人，带着一丝窘迫，用早被时代抛弃的原始器具劈凿出来的。他们置身于这个超速发展的社会里，显得十分格格不入。在不断重复的、仿佛大树倒塌般的鼓点之外，这个二重奏的灵魂人物马木尔，用他改装过的贝斯制造出工业噪音的嚎叫，同时唤醒了我们关于早年的工业时代，以及那些逐渐消逝于现代化进程中的生存方式的集体记忆。不无讽刺的是，无论是革新历史的现代化推进者，还是在现代化过程中牺牲的受害者，TAT的音乐都为他们打上了鲜明的烙印。”

“…not all Chinese musicians are immediately seduced by the pleasures and rewards on offer outside China. TAT are a case in point. Back in the late 2000s, Mamer was heavily feted by Peter Gabriel’s Real World label and WOMAD as a musician keeping alive the songs and traditions of a fast disappearing world. All well and good, but then as now Mamer’s own musical tastes lean towards raw electric and industrial rock, and the various units he has formed and dissolved in its pursuit have taken him far away from the WOMAD crowd.”

“然而，也并非所有的中国音乐人都会立刻被海外所提供的优渥条件诱惑。TAT就是一个鲜活的例子。在二十一世纪前十年末期，马木尔作为一个留存着即将绝迹于世的歌谣和传统的音乐人，曾被Peter Gabriel的厂牌Real World和WOMAD（World of Music, Arts and Dance）盛情款待。一切似乎都顺顺当当的，然而现在，马木尔自己的音乐口味则倾向于原始的实验和工业摇滚，而在追寻的过程中，他所创建和解散的多个不同的组合，已让他把WOMAD的圈子抛诸脑后甚远了。”

锈 TAT @ 第二届明天音乐节现场回顾视频

http://v.qq.com/boke/page/x/u/j/x0154in0nuj.html

南音雅艺 @ 第二届明天音乐节现场回顾视频

http://v.qq.com/boke/page/c/k/8/c0154hf22k8.html

另一支中国的组合南音雅艺也让他印象颇深——

“More yesterday than today, Tomorrow’s other Chinese group are almost exactly the opposite of TAT. Named Nanyin Yayi Musical Association, they are about keeping ancient musical traditions alive, in their case South Chinese opera song, with pipa player and singer Cai Yayi painstakingly talking the audience through each of the pieces they perform. Even to a non-Chinese speaker, their set is absorbing, with Cai Yayi and the three traditional instrument players that make up her quartet looking like they’ve stepped onto the stage from one of Hong Kong or new China cinema’s classier historical dramas. And just as the storylines of such films field enough background for the viewer to make sense of otherwise forgotten musics…”

“而更具昨日气息的另一个中国组合则几乎可以说是TAT的反面。这个组合名为南音雅艺，他们致力于留存一种起源于南中国的古老的传统音乐。演出的过程中，琵琶乐手兼歌者蔡雅艺将他们演奏的每一首曲子的故事都向观众娓娓道来。即便对于一个不懂中文的人来说，他们的配置都是极具吸引力的。蔡雅艺和另外三个传统乐器演奏者组成的这个四重奏，仿佛置身于香港或是新中国电影院中经典历史剧中的场景，随着剧情的发展，其历史背景也愈发清晰，让观者能够逐步理解这种几乎被遗忘的音乐。”

感谢Chris先生撰文和《The Wire》杂志报道。《The Wire》的工作人员也在给我们的来信中表示，很期待中国的读者能够为他们提供更多的资讯，并与他们有更深入的讨论和互动。

《The Wire》实体杂志可在旧天堂书店购买。