Acid Mothers Temple

小簡(jiǎn)介
稱為「魂之共同體」以結(jié)他手河端一為中心的Acid Mothers Temple，是一個(gè)迷幻公社，是一個(gè)地下音樂(lè)廠牌，也是一支龐大的迷幻太空搖滾樂(lè)團(tuán)，以及一個(gè)以聲響展現(xiàn)的大宇宙曼荼羅。
Acid Mothers Temple，我國(guó)之生物文化歷史學(xué)家中譯為「酸母寺」，乃公元後，後人類紀(jì)以前其中一個(gè)最撲溯迷離的古文明建筑。相對(duì)於西藏拉薩布達(dá)拉宮 (Potala) 的確實(shí)存在，Acid Mothers Temple的神秘性就正如阿蘭特斯提 (Atlantis)，現(xiàn)存雖有無(wú)數(shù)文獻(xiàn)古籍記載，但至今仍無(wú)法確定其真正遺址及其真實(shí)性。甚至有超心理學(xué)者 (Transpersonal Psychologist) 認(rèn)為，所謂「酸母寺」只不過(guò)是部分小數(shù)次文化族群面對(duì)末世紀(jì)來(lái)臨而產(chǎn)生的集體無(wú)意識(shí)投射 (Unconscious Projection)。
據(jù)文獻(xiàn)記載，Acid Mothers Temple位於舊日本，介乎大阪與東京之間的名古屋山區(qū)地帶。據(jù)說(shuō)Acid Mothers Temple乃融會(huì)西藏佛教之曼荼羅 (Mandala) 的神秘幾何設(shè)計(jì)建筑而成，并配合以演變自煉金術(shù) (Alchemy) 的環(huán)境聲學(xué)設(shè)計(jì)，造成一個(gè)通往大宇宙意識(shí)界的神秘通道。為這個(gè)古老傳說(shuō)所吸引，自後人類紀(jì)以後便有過(guò)不少深海探索隊(duì)前往舊日本的陸沉海域進(jìn)行搜索，意圖揭開這門古宗教科學(xué)之謎。
然而亦有聲響考古學(xué)者認(rèn)為，「酸母寺」并非一個(gè)實(shí)存過(guò)的廟宇建筑。此派學(xué)者指出，所謂Acid Mothers Temple，是來(lái)自東京古都一群隱遁於名古屋效野地帶的迷幻音樂(lè)宗教使徒。生物文化歷史學(xué)派與聲響考古學(xué)派對(duì)於Acid Mothers Temple作為一個(gè)實(shí)存性建筑物之爭(zhēng)議，至今仍然莫衷一是。
姑勿論「酸母寺」是否真有其物，但從現(xiàn)存的聲象記錄猜測(cè)，迷幻公社∕共同體Acid Mothers Temple與「酸母寺」傳說(shuō)有不可分割的神秘連系。無(wú)論「酸母寺」是一個(gè)真實(shí)的歷史建筑還是一個(gè)純粹原屬於精神意識(shí)的外向投射，Acid Mothers Temple公社的音樂(lè)構(gòu)建，卻一一對(duì)應(yīng)傳說(shuō)中「酸母寺」的曼荼羅式設(shè)計(jì)。
自稱作「魂之共同體」(Soul Collective) 的Acid Mothers Temple成員約共三十人，其中包括音樂(lè)家、藝術(shù)家、舞蹈家及農(nóng)夫等來(lái)自不同界別的志同道合者。不但是一個(gè)嬉皮士式的公社共同體，Acid Mothers Temple也是一個(gè)專門出產(chǎn)迷幻音樂(lè)的地下廠牌。以家庭式CD-R生產(chǎn)，Acid Mothers Temple的每款出品均限量出版一百?gòu)?，而每張均有手寫編?hào)。而這些音樂(lè)創(chuàng)作，全出自共同體成員所組成的創(chuàng)作單位，如Uchu、Zoffy、Father Moo & The Black Sheep、Floating Flowers、Tsurubami等。聲響考古學(xué)派認(rèn)為，Acid Mothers Temple的音樂(lè)，是一種大宇宙結(jié)構(gòu)的試圖再創(chuàng)?？v而觀之，所構(gòu)建出的是一個(gè)聲響化的曼荼羅設(shè)計(jì)。
占據(jù)這個(gè)聲象曼茶羅的中心而又同時(shí)包容著整個(gè)神秘幾何設(shè)計(jì)的，是由共同體領(lǐng)導(dǎo)人河端一 (Makoto Kawabata) 與眾成員組成的大型太空樂(lè)團(tuán)Acid Mothers Temple & The Melting Paraiso U.F.O.。據(jù)聲象考古學(xué)會(huì)出版的「音樂(lè)宗教異人錄」之記載，河端一原居名古屋，七十年代末踏足大阪樂(lè)圈，曾參加過(guò)Erochika及Headache等組合，到九十年代方加入由東京聲響煉金術(shù)士南條麻人所領(lǐng)導(dǎo)的迷幻樂(lè)團(tuán)Musica Transonic及東方沙羅。憑著一手迷幻而辛辣的酸性Wah-Wah結(jié)他，河端一隨後進(jìn)一步成為南條麻人好幾個(gè)其他組合如Mainliner、狼之時(shí)間等之核心成員。
河端一於公元後1997年組成太空迷幻樂(lè)團(tuán)Acid Mothers Temple所發(fā)表的首張同名專輯，是一張集合Space Rock、Acid Folk，六十年代Psych-Rock及九十年代噪音演奏，并在意識(shí)形態(tài)上深受Gong、Hawkwind、Sun Ra等影響之作品。此張同名專輯與其後於公元後1999年發(fā)表的第二張專輯Pataphisical Freak Out MU!!，均被古聲象殖民學(xué)會(huì)所出版的「危險(xiǎn)音樂(lè)索引」列為經(jīng)典名盤。古聲象殖民學(xué)會(huì)於書中指出，此兩輯聲象記錄之危險(xiǎn)性，全在於其聲響對(duì)人體生理及精神意識(shí)之異化作用。
如果樂(lè)團(tuán)首張同名著作是一次以噪音聲學(xué)力度奮張的迷幻爆破，那Pataphisical Freak Out MU!!便是一次以滲透角度飛翔的迷幻歷程。經(jīng)過(guò)重型的太空噪音洗禮後，Acid Mothers Temple的曼荼羅世界綻放出是更具升華意味的迷幻圖象分布，Space Rock、Psych-Rock與Acid Folk的奇異交纏聚合。再加上怪異派結(jié)他手篤山津及前地下樂(lè)團(tuán)After Dinner女歌手Haco之介入，是次的聲響變化及意識(shí)闊度明顯更精細(xì)而瘋狂。
Acid Takion及Your My Only Super Sunshine高速狂沖注滿是河端一的迷幻Wah-Wah結(jié)他與13th Floor Elevators式怪異太空電子效果的交擊對(duì)壘，感覺(jué)彷佛是一次High Rise加上Hawkwind的神怪太空奇遇。Golden Bat Blues Dead則是一次太空搖滾樂(lè)與藍(lán)調(diào)怨曲結(jié)他的聯(lián)游巡禮。同樣的迷幻怨曲造型，在Blue Velvet Blues卻演變成一個(gè)旋律化并具結(jié)構(gòu)性的不失者，到最後又從這種灰野敬二式的歌德色素，繁衍出類似Jack Or Jive的悲涼宇宙詠唱。當(dāng)中河端一的彈奏收放莫名地厲害，從混沌的嘶叫中綻放眩人的聲響效果。
新增的Acid Folk元素也很叫人迷惑。夾雜在宇宙烈風(fēng)中White Summer Of Love及Right About Rainbow I &II的太空Acid Folk飄浮，穿梭於原始太空電聲中Astrological Overdrive的Acoustic Free-Rock演奏，沉浸在中世紀(jì)光影里Mr. Hardy Guidey Man的奇異絞旋音律效果，隨清新和弦而來(lái)Third Eye Of The Whole World的Lo-Fi民歌造型，凡此種種都透露出一種純粹又精細(xì)的瘋狂。由Ghost伴奏Timothy Leary主唱13th Floor Elevator的作品，效果大概正會(huì)是這個(gè)模樣。
After performing with such bands as Toho Sara, Ohkami No Jikan, Musica Transonic, and Mainliner, Japanese guitarist Makoto Kawabata decided to continue his musical explorations by bringing together likeminded individuals to create trippy psychedelic freak-outs inspired by Karlheinz Stockhausen, Krautrock, and '70s progressive hard rock. Acid Mothers Temple & the Melting Paraiso U.F.O. (Underground Freak Out) was founded in 1996 as a "soul collective." It's not a commune in the full sense since the members don't all live together, but it is based on communal values and has even been mistaken by some people for a religious cult.
Kawabata started the collective because he wanted to give unknown musicians a chance to record and release albums that would reach a wider audience; his original intent was not to create an ongoing touring and recording band. Indeed, the group's self-titled debut album, which was released on Japan's PSF Records in November 1997, was essentially a Kawabata solo project; he performed jam sessions with several other musicians, then edited and overdubbed the tapes to create something akin to musique concrète. Kawabata must have been pleased with the results, because he assembled a group of musicians to tour overseas as Acid Mothers Temple in 1998.
Atsushi Tsuyama played guitar during a November 1998 Japanese tour and became the group's regular bassist in 1999; eventually the band's steady touring lineup became Kawabata, Tsuyama, guitarist and synthesizer player Higashi Hiroshi, drummer Ichiraku Yoshimitsu, and vocalist and synthesizer player Cotton Casino. Buoyed by a well-deserved reputation as a superb live band, the group continued to tour and record. They released Wild Gals a Go-Go, the soundtrack to an uncompleted Russian underground film, in 1999, and Live in Occident, a double album of performances from their 1999 overseas tour, in 2000. Acid Mothers Temple continued to expand their range of influences; for example, they drew on Tsuyama's experience performing ancient folk music for La Nòvia, an album of Occitan traditional songs that they released in 2000. Then, in 2001, they released their fourth "official" album, New Geocentric World of Acid Mothers Temple, as well as a couple limited-edition releases. Meanwhile, the collective has spun out numerous offshoots, including Floating Flower, Nishinihon, and Tsurbami.
Many of these spinoffs appeared on the three-CD Do Whatever You Want, Don't Do Whatever You Don't Want. Released in 2002 on the Earworm label, the set featured Acid Mothers Temple music on the first disc and all the different side projects on the remaining two discs. The year 2002 ended up being an especially busy time for the band, with numerous releases including the concept album St. Captain Freak Out and the Magic Bamboo Request and their version of classical composer Terry Riley's groundbreaking In C. Magical Power from Mars landed in 2003 and collected some no longer available limited-edition 3" CDs. Mantra of Love from 2004 saw Cotton Casino exit the band. The band kept the ambitious release schedule going with both Just Another Band from the Cosmic Inferno and IAO Chant from the Cosmic Inferno in 2005. After adding drummer Shimuro Koji, the group released Starless and Bible Black Sabbath, Have You Seen the Other Side of the Sky, Myth of the Love Electrique (the latter featuring the voice of new female singer Kitagawa Hao), and Soul of a Mountain Wolf.