簡(jiǎn)介: 與Samla Mammas Manna等這些RIO運(yùn)動(dòng)(當(dāng)時(shí)由英國(guó)興起的一種把實(shí)驗(yàn)手法引入到前衛(wèi)搖滾中的風(fēng)格)的中堅(jiān)樂(lè)隊(duì)稍有不同,Parson Sound更多的是從低限理論受到影響,那些狂放的噪音與渾濁肆虐的背景回授在許多時(shí)候仍然被節(jié)制在一個(gè)回復(fù)的節(jié)奏與低音之中,這也是與當(dāng)時(shí)正在 更多>
與Samla Mammas Manna等這些RIO運(yùn)動(dòng)(當(dāng)時(shí)由英國(guó)興起的一種把實(shí)驗(yàn)手法引入到前衛(wèi)搖滾中的風(fēng)格)的中堅(jiān)樂(lè)隊(duì)稍有不同,Parson Sound更多的是從低限理論受到影響,那些狂放的噪音與渾濁肆虐的背景回授在許多時(shí)候仍然被節(jié)制在一個(gè)回復(fù)的節(jié)奏與低音之中,這也是與當(dāng)時(shí)正在德國(guó)興起的Kraut rock風(fēng)潮同步的,他們從東方哲學(xué)和印度raga音樂(lè)中得到靈感,強(qiáng)調(diào)以最簡(jiǎn)單的段落重復(fù)來(lái)營(yíng)造聽(tīng)覺(jué)上眩暈感,使聽(tīng)者進(jìn)入一個(gè)深層次的冥想狀態(tài),以抵達(dá)所謂聲音與思維交匯后最深層的內(nèi)核。表現(xiàn)在音樂(lè)上,一部分直接通過(guò)節(jié)奏與器樂(lè)的冗長(zhǎng)回復(fù)來(lái)實(shí)現(xiàn),另一部分則通過(guò)與民謠的嫁接,采用各種原聲樂(lè)器以及諸多簡(jiǎn)陋奇特的敲擊樂(lè)器,通過(guò)延遲混響等各種效果來(lái)制造一種疏離混沌的聆聽(tīng)感受,前者可從如今的后搖樂(lè)隊(duì)中找到影子,后者則是如今那些Acid folk樂(lè)隊(duì)的慣用手法,這兩點(diǎn)在Parson Sound時(shí)期已經(jīng)初現(xiàn)雛形,而在隨后樂(lè)隊(duì)的發(fā)展中更是得到確認(rèn)并且被進(jìn)一步豐富和延展。
68到69年間樂(lè)隊(duì)先后改名為International Harvester ,Harvester,陣容在這段時(shí)間內(nèi)也得到穩(wěn)定,其中包括樂(lè)隊(duì)一直以來(lái)的靈魂人物Bo Anders Persson和他的另兩位老搭檔鼓手Thomas Gartz和長(zhǎng)笛及薩克斯演奏Thomas Tidholm ,在那張以International Harvester為名發(fā)行的《Sov Gott Rose》(意為緊睡的薔薇)中,大部分歌曲都未超過(guò)3分鐘,他們把輕巧明快的北歐民謠引入到冷靜的Kraut rock節(jié)奏當(dāng)中,吉他演奏舍去多余的表演化枝節(jié),然后祛除了民謠中人聲的質(zhì)樸之氣,代之以更為自由即興的演唱,使得音樂(lè)聽(tīng)起來(lái)有著一種天真怪誕的異境色彩,從同名曲Sov Gott Rose的改變就能看出他們?cè)陲L(fēng)格上的變化,這首歌曾是Parson Sound時(shí)期的經(jīng)典曲目,那是一首由扭曲的吉他人聲帶來(lái)的鬼魅般的長(zhǎng)曲,而在這張專集中則被演繹成一首沉靜憂傷的動(dòng)人小調(diào),專集里不論是那首僅20秒鐘鐘輕松詼諧的無(wú)厘頭式的Statsministern,或是Skodetider這樣25分鐘充斥著嘶鳴的吉他與冷靜節(jié)奏的冗長(zhǎng)曲子,都不再有前作的暴烈與迫人的沉重感,密不透風(fēng)的噪音墻變得溫和而冷靜,沉重壓抑的節(jié)拍也開(kāi)始輕巧而富于彈性,分貝數(shù)的降低卻并沒(méi)有造成力量感的削弱,在那些零碎稀疏的風(fēng)景中傳達(dá)著的卻是更為內(nèi)在的疏離與荒蕪。69年樂(lè)隊(duì)再次改名為Harvester后推出的一張唱片《Hemat 》更象是《Sov Gott Rose》的一次強(qiáng)化與統(tǒng)一,散落的原聲段落仍然俯首可及,疏落的節(jié)奏變得更為倔強(qiáng)堅(jiān)定,但曲式結(jié)構(gòu)的編排更顯跳躍性,樂(lè)曲雖不及International Harvester時(shí)期靈動(dòng),但明顯更為緊湊,囈語(yǔ)般的人聲被淹沒(méi)在那些緩慢燃燒般推進(jìn)的由吉他鼓點(diǎn)織就的回復(fù)中,帶來(lái)的是一種藥物般純粹的幻覺(jué)體驗(yàn),除此之外,Hemåt中沉著大氣的薩克斯,Nar Lingonen Mognar中迷離的異域器樂(lè),Bacon Tomorrow中歡快民歌下尖利的女聲都是專集令人一再回味的精彩瞬間。
從《Hemat 》和《Sov Gott Rose》這兩張專集可以看出Bo Anders Persson和他的伙伴們?cè)谄鳂?lè)演奏與音樂(lè)理念上的日益成熟,然而令人遺憾的是,在《Hemat 》發(fā)表后,樂(lè)隊(duì)的原始成員,核心人物之一Thomas Tidholm離隊(duì),和他的妻子Anna-Clara Tidholm一起繼續(xù)他的詩(shī)歌創(chuàng)作和舞臺(tái)表演事業(yè),不論在之前的任一時(shí)期,Thomas Tidholm的長(zhǎng)笛和薩克斯演奏一直是他們音樂(lè)中豐富表現(xiàn)力的部分源泉和推動(dòng),他的離去對(duì)樂(lè)隊(duì)的發(fā)展是一個(gè)相當(dāng)大的打擊,剩下的成員把樂(lè)隊(duì)改名為Trad gras och stenar(意為樹(shù)木,草地和石頭),并且一直沿用至解散,Trad gras och stenar是他們最穩(wěn)定最多產(chǎn)也是最具影響力的時(shí)期,但在音樂(lè)上卻不見(jiàn)得比之前的作品更精彩,于70年發(fā)表的《Träd Gras Och Stenar》除了保持著一貫的民謠元素與前衛(wèi)音樂(lè)的融合,他們還在音樂(lè)中引入了一些funk成分,節(jié)奏上更富動(dòng)感,以往火星四濺的吉他表現(xiàn)也收斂的多,這也是他們諸多作品中最為動(dòng)聽(tīng)的一張,但已沒(méi)有了前作中咄咄逼人的鋒芒和才氣,部分曲子聽(tīng)起來(lái)就有如Can的再版,但象Svarta Ppla這樣低沉頹靡的作品仍然顯示了他們不凡的功底和獨(dú)特氣質(zhì)。第二年Jakob Sjoholm加入樂(lè)隊(duì)與Bo Anders Persson一起擔(dān)當(dāng)雙吉他演奏,隨之發(fā)行的《Djungelns lag 》是一張精彩與平庸各半的作品,專集中既有Dibio這樣令人眼亮的Frank zappa式即興小品,也有Tidigt om morgonen這樣充斥著柔滑吉他與溫情鋼琴的頹廢情歌,而最后一首30多分鐘的Amithaba則是Pink floyd與Amon duul一次令人叫絕的混和,從前段的沉靜從容到后段的爆發(fā)承接流暢自然,各段間氛圍的營(yíng)造也相當(dāng)?shù)轿?,某種程度上這首歌也是當(dāng)今那些后搖樂(lè)隊(duì)的一首范本。接下來(lái)的72年Trad gras och stenar先后發(fā)行了兩張作品《Mors Mors 》和《Rock for kropp och sjal》,曲風(fēng)比之《Djungelns lag 》要更顯開(kāi)放和富于激情,除了少數(shù)曲目依然保留著Trad gras och stenar之前標(biāo)簽式的冷靜推進(jìn),多數(shù)作品都顯得迷幻味十足,吉他的表現(xiàn)力得到加強(qiáng),人聲和節(jié)奏也更靠近早期Amon duul。在這兩張唱片發(fā)行后,樂(lè)隊(duì)也隨之宣告解散,然而傳奇卻依然沒(méi)有結(jié)束,除了各自都有精彩個(gè)人作品推出,他們還在Hot Boys ,Arbete & Fritid,Stenblomma,Prins Latt,Bitter Funeral Beer Band等樂(lè)團(tuán)中繼續(xù)延續(xù)著各自不同的音樂(lè)歷程。其中象將民謠爵士與前衛(wèi)搖滾結(jié)合的Arbete & Fritid,以及曾在Ecm發(fā)碟的以雍容冷冽曲風(fēng)見(jiàn)長(zhǎng)的爵士樂(lè)團(tuán)Bitter Funeral Beer Band等都是瑞典音樂(lè)史上有著相當(dāng)影響力的名字。
縱觀這支命運(yùn)坎坷的樂(lè)隊(duì)在各個(gè)時(shí)期的表現(xiàn),Parson Sound無(wú)疑是最具活力與鋒芒的時(shí)期,作品有著強(qiáng)烈的現(xiàn)場(chǎng)感染力和新鮮粗礪的地下色彩,International Harvester 和Harvester是樂(lè)隊(duì)的風(fēng)格成型期,這時(shí)期雖然僅有兩張作品問(wèn)世,卻是樂(lè)隊(duì)整個(gè)歷史上最精彩最杰出的作品,他們把本土民謠與kraut rock的低限手法以及其他當(dāng)時(shí)最前衛(wèi)的音樂(lè)理念結(jié)合,創(chuàng)作出了那個(gè)黃金歲月最令人動(dòng)容的聲音之一,在重要成員離去導(dǎo)致的傷筋動(dòng)骨后,樂(lè)隊(duì)依然繼續(xù)堅(jiān)持前行,Trad gras och stenar高產(chǎn)的作品使得他們?cè)谌鸬湟魳?lè)界影響日益擴(kuò)大,這個(gè)階段可以看作是他們對(duì)既有理想的固守與突破本身窠臼間的碰撞與妥協(xié),3年間的4張作品更加圓滑老練卻依然保持既往作品中盎然的內(nèi)在靈性,音樂(lè)元素的采用也更為豐富,特別是吉他的演奏更富迷幻色彩,不過(guò)這畢竟是以犧牲其部分固有風(fēng)格為代價(jià)的,本色的削弱和銳氣的消失使其在后段盡顯疲態(tài),解散也在必然之中。和那些當(dāng)時(shí)極為活躍并且對(duì)搖滾樂(lè)做出了革命性貢獻(xiàn)的眾多kraut rock樂(lè)團(tuán)一樣,他們的這些唱片和他們的名字一起在很長(zhǎng)時(shí)間內(nèi)被人們遺忘,直到近年隨著對(duì)當(dāng)年kraut rock運(yùn)動(dòng)的重視以及在瑞典本土音樂(lè)廠牌如Silence的努力下,他們才重新被人們提及和追捧,Träd Gras Och Stenar近年來(lái)也隨著其唱片再版開(kāi)始了重組演出并有著一些早期現(xiàn)場(chǎng)和一張新作品問(wèn)世,如今他們的名字已成為瑞典音樂(lè)史上極富傳奇色彩的濃重一筆,而其在音樂(lè)上所做的探索對(duì)后世瑞典甚至北歐的現(xiàn)代音樂(lè)都有著相當(dāng)深遠(yuǎn)的影響。
by Rolf Semprebon
Parson Sound was one of the earliest and most radical experimental rock bands of Sweden and the nucleus of a lineup that went on to become International Harvester, Harvester, and eventually, Trad Gras Och Stenar. With their expansive intake of styles as diverse as West Coast psychedelic music and the Velvet Underground's minimalism while still retaining a hint of their Swedish roots, Parson Sound created an unusual sound similar to early Krautrock, though predating its beginning by a year. The group began in Stockholm in the spring of 1967 shortly after a visit to Sweden by minimalist composer Terry Riley to perform his classic "In C," as well as a new work with Swedish school children called "Olson III." Guitarist Bo Anders Persson, a student at the Royal Academy of Music who had already experimented with tape music, participated in the "In C" and was deeply inspired by Riley's open-minded aesthetic in contrast to the stifling atmosphere of the university. Persson started Parson Sound as a free improvisational group with cello player Arne Ericsson, also from the Academy; bassist Torbj?rn Abelli, a music student at the University of Stockholm; and radio journalist and poet Thomas Tidholm, who met Persson while working on an article. Thomas Mera Gartz, previously the drummer for the psychedelic beat group Mecki Mark Men, soon joined the group and in the next year, others came and went in the loose collective, including Urban Yman, Bengt Berger, Bjorn Fredholm, and Kjell Westling. By summer 1967, Parson Sound was performing before audiences in cafés, clubs, and festivals and they also gigged a couple times on Swedish radio in September and December of that year. Parson's repetitive and hypnotic riffs were quite similar in sound to the Velvet Underground in its more improvised phase, so it was only fitting that in February 1968 they were part of an Andy Warhol exhibit at Stockholm's Museum of Modern Art. Eventually, the group coalesced around Persson, Abelli, Tidholm, Ericsson, and Yman and by summer 1968, they had changed their name to International Harvester to further refine their sound. This group would eventually become Trad Gras Och Stenar, while several of Parson's alum went on to another progressive experimental group, Arbete Och Fritid.