海朋森

Bildungsroman

Spring Breeze

Xindu People

I Am in a Period of Desperation

Daily March

Crashing into Daylight

From Birth to the Present

Our Ballad

Found It

I Don’t Want Another Life

Happy Times Always Pass Fast

成長小説

那是愛人離開時留下的春風。
在看不見的風裏，我們訴説着現實，幻想着世界。
在看不見的風裏，我們聞到了自己，也聽到了明天...

詞曲：陳思江
編曲、演奏：海朋森樂隊
小打：王博強、季一楠
笛子：季一楠

製作：季一楠
錄音：Nanni Johansson at Hansa Studios
錄音助理：Frida Claeson Johansson
混音：樊彬
母帶：Matthew J Barnhart at Chicago Mastering Service
單曲封面：海朋森樂隊

春風

Hiperson – She Came Back From the Square

海朋森《她從廣場回來》
Release date: May 3, 2018
Format: cassette, CD, vinyl
Label: Maybe Mars
Recorded and mixed by Hiperson
Mastered by Yang Haisong
發行日期：2018年5月3日
介質：磁帶、CD、黑膠
廠牌：兵馬司
錄音/混音：海朋森
母帶製作：楊海崧


1. 有人説 Someone Said
2. 他像我的老師一樣驕傲 He’s as Proud as My Teacher
3. 出租車司機 Taxi Driver’s Body
4. 追和等 Pursuing and Awaiting
5. 歷史 The History
6. 陶瓷 Ceramics
7. 洞 Hole
8. 足球賽 Football Game


Life… death… friendship… regret… apologies… weird chats with cab drivers… biscuits. All are addressed to various degrees on the second album by Hiperson, ‘She Came Back from the Square’, which marks the return of China’s best contemporary bands, fully invigorated and ready to talk in depth about crunchy snack-based metaphors.
生命……死亡……友情……悔恨……歉意……與出租司機的尬聊……餅乾。在海朋森的第二張專輯《她從廣場回來》中，這些話題均有不同程度的涉及。專輯標誌着當代中國最佳樂隊的集體回歸，他們不僅滿血歸來，更準備好了深入探討那些與酥脆小吃有關的隱喻。

“Everyone has their own concepts of Pursuing and Awaiting,” says singer Chen Sijiang, when asked about the inspiration for ‘Pursuing and Awaiting’: a standout track on the Chengdu-based band’s new record, which will be released May 3rd on Maybe Mars. “For example, a child’s ‘pursuing’ is for biscuits, but a parent sees biscuits as ‘awaiting’ because they don’t think biscuits are healthy enough. How do parents use their ‘awaiting’ to fight against a child’s ‘pursuing’?”
 “每個人對追求與等待都有自己的定義，”在被問到《追和等》一歌的靈感來源時，主唱陳思江這樣説道。這首令人耳目一新的歌曲是這支成都樂隊即將發佈的新專輯中所收錄的一首歌，專輯會在5月3日由兵馬司唱片發行。“比方説，對於一個小孩兒，他的‘追求’是餅乾，而家長則把餅乾視為‘等待’，因為他們覺得在當時把餅乾給小孩子吃還不夠健康，因為也許馬上要吃正餐了，餅乾應該留着下次再吃。那麼家長們是如何用他們的‘等待’去對抗孩子的‘追求’的呢？”

If that explanation makes little sense to you, then don’t worry too much. Chen, who has established herself as an enig-magnetic presence front of stage since Hiperson began gigging in 2012, is prone to oblique explanations of her band’s dark, beguiling music. But ‘She Came Back from The Square’, the follow-up to the band’s 2015 debut album ‘No Need for Another History’, is no obtusely twisty art-rock album. It’s got depth, sure, but also contains the most bloody-steak-raw, direct songs the five-piece have ever released.
如果這樣解釋你還是一知半解的話，也別太擔心。從2012年海朋森開始演出至今，舞台上的陳思江就形成了她特有的謎一般的魅力，也並不傾向於為自己樂隊黑暗而令人沉醉的音樂做出任何解釋。但《她從廣場回來》作為2015年首專《我不要別的歷史》的續篇，絕對不是一張拐彎抹角的藝術專輯。它的深度自不必説，更包含了五個人迄今為止出產過的最直接、最原始的歌曲。

Just listen to ‘He is as Proud as my Teacher’, which sounds like a serrated guitar string being scraped across ‘Metal Box’-era Public Image Limited’s John Lydon’s face, complete with yelped male-female panic-shouts that sound like they’re emanating from a serial killer’s cellar. Or the menacing ‘Taxi Driver’s Body’: a guitar squall hurricane that comes across as angrily noisy as, well as a Beijing taxi driver whose just been stiffed of a fare.
不信聽聽《他像我的老師一樣驕傲》，這歌聽起來簡直像用一根帶鋸齒的吉他弦刮《Metal Box》時期Public Image Limited樂隊主唱John Lydon的臉，背景裏尖鋭的男女嘶吼猶如從連環殺手的地窖裏傳來。或者那首來勢洶洶的《出租車司機》：呼嘯而過吉他颶風憤怒吵鬧得像
剛剛虧了錢的北京的哥。

Songs are often confidently stripped back by guitarist Ji Yi’nan, who acted as producer when the band, completed by singer Chen, guitarist Liu Zetong, bassist Wang Minghui and drummer Wang Boqiang, recorded in their home city in Sichuan province in summer 2017. “We just went with the flow,” says Chen with a shrug about the new, more direct sound, which often sees affairs boiled down to simple, hypnotic grooves balancing on just bass and drums. “There was no-one else in the studio, just us, so things were simple and direct. We finished the whole thing in a month.”
2017年夏天，吉他手季一楠擔綱製作人，與樂隊其他四人——包括主唱陳思江、吉他手劉澤同、貝斯手王明慧以及鼓手王博強——在四川老家錄製專輯，許多歌曲都被他果斷地簡化了。“我們就跟着感覺走，”對於這新的、更為直接的聲音，陳思江聳了下肩説道，它們常常最終歸結到只剩貝斯與鼓的簡單而催眠的平衡律動。“錄音棚裏也沒別人，只有我們幾個，所以做起事兒來簡單直接。一個月就完活兒了。”


Musical touchpoints for the band included The Viking of Sixth Avenue: the posthumous compilation album by the blind, homeless and heavily-bearded US multi-insturmentalist Moondog. The squalling saxophone squeal of ‘History’, meanwhile, is likely a byproduct of Chen obsessively listening to Norwegian jazz musician Jan Garbarek. Steve Reich, Akio Suzuki and Sebadoh are other artists the band reels off when asked about the deep well of influences the band drank from when recording the new album. 
樂隊在這張專輯中所受的音樂影響包括《The Viking of Sixth Avenue》：美國樂器多面手、大鬍子盲人流浪漢Moondog的遺作合輯。而《歷史》中尖叫的嗩吶很可能是陳思江瘋狂地聽挪威爵士樂人Jan Garbarek的結果。在被問到錄製新專輯過程中樂隊汲取的音樂源泉時，樂隊提到的名字還包括Steve Reich, Akio Suzuki 和 Sebadoh。

During this process, everyday conversations with strangers were seemingly as influential as rifling through the back catalogues of various pillars of alternative music history. Chen recalls a chat she had with a taxi driver that ended up shaping the lyrical content of the short, largely spoken-word intro ‘Someone Said’, plus the aforementioned ‘He is as Proud as my Teacher’, that follows it.
在錄製專輯的過程中，那些和陌生人的日常談話與另類音樂史巨頭們所產生的影響一樣大。陳思江回憶了一次與出租車司機的聊天，這次聊天最終構成了短促的開篇曲《有人説》以及之後的《他像我的老師一樣驕傲》中的歌詞內容。

“I was chatting with an Uber driver and he started to calculate how much money my parents had to spend on me when they were raising me,” Chen says, recalling an interaction that sounds at best mildly inappropriate, at worst a downright creepy. Not for Chen, though – she found it intriguing. “He even gave me a final number,” she continues. “I liked him and thought the way he calculated the total was interesting – how much money does a person’s life cost? It was a surprising way to think but I didn’t think it was wrong – gaining something, calculating, spending… it’s their life cycle.”
“我當時在跟一個優步司機聊天，然後他開始算賬，我父母養我得花多少錢，”陳思江回憶着這次令人聽上去説好聽了有點尷尬説難聽了完全聳人的乘駕互動。不過陳思江卻不這麼想——她覺得這次聊天很有意思。“他最後真給我算出了一個數來，”她繼續道。“我挺喜歡那司機的，我覺得他算賬的思路挺有意思的——一條人命值多少錢？這麼想有點讓人吃驚，但他並沒有胡説——收益，然後盤算，再花銷掉，這就是他們的生活循環。”

Chen ended up using the conversation to shape lyrics such as, “He is as proud as my teacher/How proud he is – experience of the general public/He calculates to survive/Is he wrong/Care for Him! Talk to him!”, immortalising arguably one of the weirder cabbie conversations than most get to experience.
最後陳思江用這次談話的內容構成了歌詞，諸如“他像我的老師一樣驕傲/大眾的經驗多麼驕傲/他盤算着如何過完這一生/這有錯嗎？/關心他吧！/開導他吧！”，將這次多數人都無緣經歷的詭異談話永遠留存了下來。

Perhaps this head-on collision of cerebral life view analysis and rip-roaringly raw rock is fitting for a band that balances the deep and the direct so deftly. Whatever, along with the biscuits, it’s another slosh of petrol on the crackling fire of intrigue that is ‘She Came Back from the Square’. Trust us, you really want to hear this.
也許人命估價和爆裂原始搖滾的迎頭相撞恰恰符合這樣一個能夠在深度和直接間遊刃有餘的樂隊。諸如此類，還有餅乾，也像是澆在《她從廣場回來》這團迷人的火焰上的一潑汽油。相信我們，你會想聽這張專輯的。

她從廣場回來

歷史(單曲版)

我不要別的曆史

https://image.joox.com/JOOXcover/0/0516674cde3141df/300

Bildungsroman

歌曲列表

更多海朋森

Bildungsroman

歌曲列表

更多 海朋森

更多海朋森