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第六届明天音乐节
地点 广东省、华侨城创意文化园北区C2栋北侧
时间 2019-05-17 至 2019-05-19
费用 180-500 元
类别 音乐

活动详情

策划人的话

curators' words

第N次浪潮  


第N届明天音乐节

机器在演奏,

机器人在观看,

每想着这些,你都会生气

看演出也更卖力了


策划人  /  涂飞  滕斐


第六届明天音乐节阵容预览 6th Tomorrow Festival Preview






Asiq Nargile


5.17 / 19:00 - 20:00

Asiq Nargile

格鲁吉亚 Georgia


Asiq Nargile - 萨兹琴 Saz


生于格鲁吉亚第比利斯的Asiq Nargile自15岁起就开始弹奏萨兹琴和演唱。精通阿塞拜疆语、格鲁吉亚语和俄语的她,通过音乐向听众展示古老的第比利斯(Tbilisi,格鲁吉亚共和国首都)丰富的文化遗产,那里曾聚集众多吟游诗人。Nargile动情地吟唱史诗般的民间歌谣,并以高超技艺弹奏装饰精美的萨兹琴。无论是催人泪下的哀歌,还是节奏轻快的民间舞曲,Nargile都演绎得游刃有余。


Born in Tbilisi and now based in the Borcali region of southern Georgia, Nargile Mehtiyeva aka Asiq Nargile has been playing saz (long-neck lute) and singing since the age of 15. Fluent in Azerbaijani, Georgian, and Russian, Nargile represents the cosmopolitan heritage of old Tbilisi, a city once known as a meeting point for multilingual Asiq bards who would travel through the region serving as conduits for news, ideas, music and culture. A powerful solo performer, her vocal recital of epic folk poetry is by turns ecstatic and deeply expressive, and is interspersed with bursts of virtuosic, highly ornamented saz. 



Byetone


5.17 / 20:20 - 21:20

Byetone

德国 Germany


Olaf Bender - 电子设备 Electronics


长居德国的Olaf Bender是德国实验电子厂牌Raster-Noton的三位创始人之一,他经常以Byetone和Lumen为代号进行个人计划,并与Komet和Carsten Nicolai(即Alva Noto)一起组成了笔记本电脑微声三重奏Signal。但直到2008年,他才在Raster Noton上发行了自己的第一张唱片《Feld》。主打单曲《Plastic Star》也定义了他的标志性声音,他以摇滚的态度——同时又无需过多的处理与修饰——呈现了基于节奏的极简主义音乐,复古、叛逆,而能量十足。


Germany-based Olaf Bender is one of three founders of the Raster-Noton imprint. He often records under such aliases as Byetone and Lumen for solo projects, and together with Komet and Carsten Nicolai (aka Alva Noto) forms the laptop microsound trio Signal. But it was not until 2008 that he released his first record on Raster-Noton. The lead single Plastic Star also defined his signature sound, presenting a minimalist rhythm-based music with a rock attitude that can do without too much processing and decoration; an archaic, rebellious music full of energy.



Merzbow


5.17 / 21:40 - 22:40

Merzbow
日本 Japan


秋田昌美 Masami Akita - 电子设备 Electronics


Merzbow是由秋田昌美(Masami Akita)于1979年创立的噪音计划。 Merzbow以创作刺耳、咄咄逼人的高能量噪音而闻名,其代表作是1996年发布的专辑《Pulse Demon》。三十多年来,Merzbow一直是国际噪音界最知名的人物,他发行过400余张唱片,并与各类艺术家合作,其中包括Sunn O)))、Full of Hell、Boris、xiuxiu和灰野敬二等。


Merzbow is a Japanese noise project started in 1979 by Masami Akita. Merzbow is best known for a style of harsh, confrontational noise as exemplified on the 1996 release Pulse Demon. For over thirty years, Merzbow has been the biggest and most recognizable figure on the international noise scene. He has released over 400 recordings, and has collaborated with various artists including Sunn O))), Full of Hell, Boris, xiuxiu, Keiji Haino, etc. 



Gudrun Gut


5.18 / 19:00 - 20:00

Gudrun Gut
德国 Germany


Gudrun Gut - 电子设备 Electronics


“一个‘天赋异禀的业余玩家’,一个朋克、无浪潮儿,一个电子流行音乐的开荒者,一个引领了柏林新音乐场景逾30载的女性。”

Gudrun Gut的故事跨越了许多年月、场景与声音。在80年代早期柏林亚文化影响下,她成为Mania D、Einstürzende Neubauten(倒塌的新建筑)和Malaria!的一员,并在后期组建工业流行女子三重奏Matador。她钟情于充满温暖声响和暗黑音色的极简科技舞曲,她的音乐散发着美丽的忧郁气息,有如强烈的香水,邀人体味她温热的脉搏。


“This is a ‘geniale dilettante’; a punk and a No Waver and an early adopter of computer pop; a female has genially hosted Berlin’s new music scene for 30 years.”

Gudrun Gut’s story spans many years, scenes, and sounds, from the “ingenious dilettantes” subculture of early 1980’s Berlin as part of Mania D, Einstürzende Neubauten, and Malaria! to her twilit industrial pop trio Matador. Her preferred style is a kind of minimal techno with a warm sound and a dark timbre, and it radiate with beautiful melancholy like a strong perfume - an invitation to let oneself fall backwards into her warm pulse.



马木尔 Mamer



5.18 / 20:20 - 21:20

马木尔 Mamer
中国 China


马木尔 Mamer – 贝斯 Bass


电贝斯就像是马木尔的触发器,常常将现场变成一个万花筒一般无法清晰聚焦的魔幻世界:干裂斑驳、层层递进的声音高墙之后,上有星光点点,下有大漠连延。即使偶尔将意识短暂停留在哈萨克草原,也仅仅是海市蜃楼般稍纵即逝的幻象,或“美丽的噪音”,或“暴力的温情”,每一颗音符都同时携带着它们的反对面,投射出一个异样迷人的多棱秘境。


Mamer uses his electric bass to turn reality into a kaleidoscope – out of focus, fragmented but magical. Behind the wall of the mottled and ever-changing sounds, there is starlight shining upon and desert stretching beneath. Even if your consciousness were brought to Kazakh grasslands for a brief stay, it would be nothing but a mirage. Call it “beautiful noise” or “violent tenderness”, every single note he plays comes out with its own objection, projecting an anomalously captivating world of mystery.



高円寺百景 Koenjihyakkei


5.18 / 21:40 - 22:40 

高円寺百景 Koenjihyakkei

日本 Japan


吉田达也 Tatsuya Yoshida - 鼓 Drums / 人声 Vocals

坂元健吾 Kengo Sakamoto - 贝斯 Bass / 人声 Vocals

小森庆子Keiko Komori - 高音萨克斯 Soprano Saxophone

矢吹卓 Taku Yabuki - 键盘 Keyboard

AH - 人声 Vocals

小金丸慧 Kei Koganemaru - 吉他 Guitar / 人声 Vocals


高円寺百景由吉田达也和久保田安纪(乐队第一任主唱,于2018年去世)在1991年创建。在成团早期,他们延续了久保田安纪之前乐队Malinconia的音乐理念,并力图将久保田歌剧式的演唱和朋克摇滚融合起来。而1994年高円寺百景发行第一张专辑时,乐队的前卫摇滚色彩变得更强烈,在不规律的节拍中加入启示性的合唱,接近法国乐队Magma的风格。乐队的歌词源自他们自创的语言,并深受Magma创造的Kobaian语、意大利语和德语等欧洲语言的影响。


Koenjihyakkei is a Japanese Progressive Rock band formed by Yoshida Tatsuya (of the renowned drum and bass duo Ruins.) and Kubota Aki (the first singer who passed away last year) in 1991. In the early period of the band activity, they took over the musicality of Kubota's predecessor band Malinconia, and aimed for fusion of Kubota's operatic voice and punk rock. By the time they released the first album in 1994, the band got progressive rock color stronger, becoming a Magma-like sound as saying to put a threatening chorus on the irregular beat unison. The language of the lyrics is a coined word, which is also greatly influenced by European languages such as Magma's Kobaian.



丰江舟 Feng Jiangzhou


5.19 / 19:00 - 20:00 

丰江舟 Feng Jiangzhou

中国 China


丰江舟 Feng Jiangzhou - 电子设备 Electronics


丰江舟,著名新媒体艺术家、多媒体剧导演。他广泛与各领域艺术家合作,艺术创作领域涉及多媒体艺术、 声音艺术、装置艺术、行为艺术等当代最前卫性的艺术范围,是中国当代艺术领域中最具开拓性的艺术家之一。除当代艺术创作外,他的履历涉及了摇滚乐队、电子乐、戏剧等诸多领域,是昔日苍蝇乐队的组建者及主唱。2019年明天音乐节是他阔别音乐舞台15年后首次公开演出。


Feng Jiangzhou is a well-known new media artist, whose works are involved in sounds, videos, installations, and stages. His works are based on the concept of cross-border new media, which combine the mechanical installations with the stage and computer program method, trying to create close-distance / intimate sense with audiences by using the change of sound and visualization, and the manipulation of enhanced reality. His creations challenge the appreciating experience of the traditional Stage Art, and bring in the fantastic feeling with innovative new media language for audiences. Including “Floating City, Fleeting Life” and “Reading-mistake Series”, his independent multi-media art pieces are praised as the most progressive digital performance; standing for the state of art ideals and advanced technology in China's contemporary art.



Guru Guru


5.19 / 20:20 - 21:20 

Guru Guru

德国 Germany


Mani Neumeier - 鼓 Drums / 打击乐 Percussion / Kaossilator合成器 Kaossilator / 人声 Vocals

Roland Schaeffer - 吉他 Guitar / 萨克斯管 Saxophone / 印度唢呐 Nadaswaram / 人声 Vocals

Peter Kühmstedt - 贝斯 Bass / 人声 Vocals

Jan Lindqvist - 吉他 Guitar / 钢棒吉他 Lap Steel Guitar / 人声 Vocals 


Guru Guru五十一岁了,也就是说,Krautrock也五十一岁了!而Mani Neumeier(1940年生)与其创立的Guru Guru,依然是德国最活跃和高产的摇滚乐队之一。

成立于1968年的Guru Guru已走过五十一个年头,却依旧保持着高涨的创造力。很多音乐家只是昙花一现,而Guru Guru既不追随主流,也不追赶潮流,而是通过将实验摇滚、前卫音乐、爵士乐和世界音乐融为一体,开拓出一条独一无二,且忠于摇滚的音乐道路。


51 years of Guru Guru - that's 51 years of Krautrock! If you hadn't believed possible that Mani Neumeier (born 1940) and his Guru Guru still rank among Germany's most active and prolific rock bands, well, then you'd be proven wrong!

Founded in 1968, Guru Guru has reached its 50th anniversary and still maintains its innovative spirit. Where many a musician made it big as a one-hit-wonder just to fade into oblivion soon after, Guru Guru carved its way outside the mainstream and short lived trends by blending experimental rock, avant-garde, jazz and world music into an unique, original form of rock’n’roll.




TOMORROW IMPROVISATION UNIT

明天即兴


5.19 / 21:40 - 22:40 

明天即兴:为了《即兴》的即兴

Tomorrow Improvisation Unit: 

Improvisation for IMPROVISATION


马木尔 Mamer

李剑鸿 Li Jianhong

Mani Neumeier

……


明天即兴,为留下来的音乐家和观众而安排的加料单元。今年的主题是“为了《即兴》而作的即兴”,旨在纪念这一本经典著作在中国的首次出版,同时也向本书的作者——伟大的即兴音乐家Derek Bailey致敬。今年的特邀嘉宾为:李剑鸿,马木尔,Mani Neumeier……可能还会有更多的音乐家加入!


Tomorrow Improvisation Unit is a distinctively arranged unit for the artists and audiences who stay until the last day of the festival, and are hungry for the unexpected. 

The theme of this year is “Improvisation for IMPROVISATION”, in commemoration of the classic book IMPROVISATION and to celebrate its debut publication in China, also as a tribute to its author, Derek Bailey, the giant of improvised music.

The line-up of this year includes Li Jianhong, Mamer, Mani Neumeier... and possibly more to come!




TALK&SCREENING


5.18 / 14:00 - 16:00 讲座 Talk


多维度的第三世界音乐版图:

独立厂牌Sublime Frequencies的历史与方法论

Extra-Geography - 

A History and Methodology of Sublime Frequencies


讲者 Speaker:Hisham Mayet

Sublime Frequencies创始人之一

Co-founder of Sublime Frequencies


Hisham Mayet是一名电影制片人、摄影师、音乐研究家和声音探险家,出生在北非的巴巴里海岸,现长居美国俄勒冈州的波特兰。Hisham与Alan Bishop(Sun City Girls乐队的成员)一起,共同创办了Sublime Frequencies厂牌,并在该厂牌发行了很多纪录片和唱片。从东方的迷幻流行到萨赫尔(突尼斯地名)的后民谣,从历史悠久的传统音乐到前卫先锋的现代创作,Hisham周游世界并记录下了众多大家所知甚少的音乐场景。Hisham在讲座中将介绍:Sublime Frequencies的创新秘诀;在文化人类学理论受科技影响的语境中讨论流行文化的冲击;以及如何在音乐学领域内继承和发扬文化遗产。


Hisham Mayet is a film maker, photographer, musical researcher and sound  adventurer based in Portland Oregon. He was born on the Barbary Coast of North Africa. Together with Alan Bishop (member of the defunct cult band  Sun City Girls), Hisham is co-founder and co-owner of the Sublime Frequencies label, where he has realized various documentary films and music recordings. He has traveled all around the world and has been  documenting many obscure scenes, from eastern psyche pop to Sahel post folk, from ancient to more futuristic. Mayet will discuss the revolutionary aspects of the label and what has changed within the framework of how technology has transformed the idea of cultural anthropology as it relates to popular culture and the gathering and disseminating of a cultural heritage in the realm of musicology.


5.18 / 16:00 - 17:00 放映 Screening

跨撒哈拉高速公路上的音乐社群

Musical Brotherhoods from the Trans-Saharan Highway


影片信息 Movie Information

导演 Director: Hisham Mayet

年份 Year:2008

时长 Length:56 分钟 56 min.

语言 Language:英语 English

字幕 Subtitle:无 None


2005年,在摩洛哥西南部马拉喀什的杰马夫纳广场等地,Hisham Mayet拍摄了《跨撒哈拉高速公路的音乐社群》这部纪录片。这部片子记录下了这群世界上最具活力的弦乐手、鼓手在他们家乡进行的最原汁原味的精彩演奏,充满着原始的能量和喜悦。在摩洛哥的马拉喀什和伊萨乌拉,古老而神秘的音乐社群在几个世纪以来一直十分兴旺,商队在穿越跨撒哈拉高速公路的长途旅行的途中会聚集在那里,这是地球上最后的伟大街头音乐场景之一。对于弦乐爱好者来说,这部片子不可不看!电乌德琴、班卓琴、曼陀林等乐器的魅力尽收眼底!


Filmed in 2005 by Hisham Mayet predominately at the Jemaa Al Fna in Marrakesh Morocco, 'Musical Brotherhoods of the Trans-Saharan Highway' captures an assortment of spectacular musical dramas presented live and unfiltered on the home turf of the world's most dynamic string and drum specialists performing and manifesting the ecstatic truth. Ancient mystical brotherhoods have been flourishing for centuries in and around the cities of Marrakesh and Essaouira in Morocco where the trade caravans have gathered from their long journeys across the Trans-Saharan Highway. This is some of the last great street music on Earth. A must see for string aficionados looking for inspiration as electric ouds, banjos, mandolins and the Gnawa sentir peel flesh from bone right before your eyes!


5.19 / 14:00 - 15:00 放映 Screening

Alan Lomax公寓里的民歌、布鲁斯与蓝草音乐

Ballads Blues & Bluegrass


影片信息 Movie Information

导演 Director: Alan Lomax

摄像 Cinematographer: George Pick

录音 Sound Recording: Jean Ritchie

剪辑 Editor: Anna Lomax Wood

制片 Producer:  Alan Lomax, George Pickow, Jean Ritchie

修复版&DVD Restoration & DVD: John Melville Bishop

年份 Year:摄于1961年,修复及出版于2012年 Shot in 1961, restored and released in 2012

时长 Length:60分钟 60 min.

语言 Language:英语 English

字幕 Subtitle:无 None


上世纪六十年代,纽约的格林威治村开始出现民间音乐复兴。1961年,在一系列以美国班卓琴歌手Roscoe Holcomb和Clarence Ashley、吉他歌手Doc Watson为主要表演者的音乐会之后,Alan Lomax邀请他们三人以及一些当时参与民间音乐复兴的知名音乐家,来到他位于第三大道的公寓里,上演了一次非正式的即兴歌唱。演出被匆匆地录了下来,却向观众展示了那个时代未曾雕琢的、多样化的音乐艺术与创作态度。《Alan Lomax公寓里的民歌、布鲁斯与蓝草音乐》是不可多得的珍贵影像,它留存了那个短暂而传奇的年代。


In the early 1960s, when Greenwich Village was bursting with a folk music revival, the Friends of Old Time Music made it their mission to introduce urban audience to some of the legends of pre-war American traditional music. After a 1961 series of concerts featuring Roscoe Holcomb, Clarence Ashley and Doc Watson, Alan Lomax invited the artists and a who’s who of the folk revival back to his West 3rd Avenue apartment for an impromptu song swap. Filming was arranged on the fly and a raw, many-layered evocation of the art and attitude of the period emerges from the footage. Ballads Blues & Bluegrass is a remarkable portrait of a brief but fabled era that was widely documented in recordings but all too under-represented in moving image.







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