The Red Krayola

小簡(jiǎn)介
ＲＥＤ ＫＲＡＹＯＬＡ，翻譯過來是“紅蠟筆”，一個(gè)很兒童的名字，然而做著并不小兒科的事情。這支至今還生存在地下的噪音樂隊(duì)，第一張專輯發(fā)表于１９６８年，而在出版了２張專輯后就沒有了聲息，直到２０多年后的上世紀(jì)９０年代才又出現(xiàn)，而且從此多產(chǎn)，所有的作品都以毫不妥協(xié)的實(shí)驗(yàn)聲音為內(nèi)容。
One of the longest-lived underground rock groups (if not the longest-lived), the Red Krayola lasted through the birth pangs of psychedelia past the death throes of post-punk. The one constant in its ever-shifting lineup was principal singer/songwriter/visionary Mayo Thompson, who seemed as concerned with deconstructing the language of rock music as with actually expressing himself within it. That made the Red Krayolas catalog challenging, often difficult listening. Its saving grace was the quirky charm of Thompsons songs and vocals, with a whimsical humor and open-mindedness rather atypical of avant rock.
The Red Krayola, initially spelled Red Crayola, was formed in Houston as a trio in 1966. The International Artists label, which was building a roster of Texas psychedelic bands, signed the group after watching one of their performances in a shopping mall, of all places. The company was convinced that if the musicians could entertain a crowd without anything in the way of conventional command of their instruments, they must be onto something. Early demos (now on the compilation Epitaph for a Legend) indicated a spacy folk-rock bent. But although some of the material was reprised on their debut, The Parable of Arable Land, by this time the group was taking a more confrontational, experimental approach in the studio. With war sucks! chants and layers of free-form freak-out noise threatening to smother the songs underneath, its been hailed as a precursor to the assault of industrial rock and made their International Artists labelmates the 13th Floor Elevators sound almost normal. Although the Krayola, like the Elevators, was able to attract a small cult following, it was a very small hardcore of devotees, centered around hip metropolises like San Francisco and New York.
An even more avant-garde follow-up, Coconut Hotel, was rejected for release by International Artists. A gentler, more song-based effort appeared in its place (God Bless the Red Krayola and All Who Sail on Her). But by the late 60s the Krayola had disbanded, partially due to disputes with their label. Thompson released a solo album in 1970 that was the very definition of quirky, with an eclectic folk-rock base that bore some rough similarities to Syd Barretts work. The Red Krayola, however, was put in deep freeze as Thompson concentrated on non-musical media.
The Red Krayola was unexpectedly resurrected in the late 70s, however. Thompson had moved to England, where he found that the old Red Krayola recordings enjoyed a cult among hip listeners. Thompson was never a champion of hippie ideals, and he was able to make the transition into the punk era effectively by forming new incarnations of the Red Krayola with such musicians as Gina Birch (the Raincoats), Epic Soundtracks (Swell Maps), and Lora Logic (X-Ray Spex). The Red Krayolas releases on underground European labels like Rough Trade and Recommended presented an ensemble that dove into the heart of post-punk, with skronky guitars and horns, and disjointed, arty song structures.
Thompson joined Pere Ubu for a while in the early 80s. He always kept the Red Krayola going, however, although most of their releases went all but unheard in the U.S., as they were only available as obscure European indie imports. The situation changed to some degree in the mid-90s, when the Krayola landed a U.S. deal with Drag City and Thompson returned to the States after a long residency in Europe, even embarking on some modest American touring. Albums such as The Red Krayola (1994), Coconut Hotel (1995), Hazel (1996), and Fingerpainting (1999) were still resolutely uncommercial, but the material was nonetheless more approachable for adventurous listeners who shied away from full-throttle avant rock. Thompsons collaborators included members of Gastr del Sol and Slovenly, as well as guitarist Jim ORourke. At the start of the new millennium the Red Krayola continued releasing material on Drag City, including the Blues Hollars and Hellos EP in 2000, Singles 1968-2002 in 2004, Introduction and Red Gold in 2006, and Sighs Trapped by Liars in 2007.