2017

谢玉岗的笔记本

惘闻乐队 x 艺术家程然《奇迹寻踪》

Wang Wen x Artist Cheng Ran's

《岁月鸿沟》台版唱片发行

Release of the Taiwanese Edition of

“岁月鸿沟”台湾双专场

日本After Hours音乐节之行

Japan "After Hours" Music Festival

媒体专访

In Course Of The Miraculous Live (Part1)

In Course Of The Miraculous Live (Part2)

In Course Of The Miraculous Live (Part3)

In Course Of The Miraculous Live (Part4)

In Course Of The Miraculous Live (Part5)

惘闻乐队

2017年6月惘闻刚刚结束了欧洲的巡演。下了飞机，孙怡、耿鑫和我三个人就直接从首都机场打车到了北五环外的某个影棚基地，我们要来勘察场地，因为一周后我们要在这里和实验影片导演程然一起做一个特别的现场“奇迹寻踪”。

In June 2017, Wang Wen had just concluded their European tour. After landing, Sun Yi, Geng Xin, and I went directly from the Capital Airport to a film studio base outside Beijing's North Fifth Ring Road. We were there to inspect the location. One week later, we were going to collaborate with experimental filmmaker Cheng Ran to create a special live event called "In Course of the Miraculous."

北京的夏天总是来的那么早，三个人汗流浃背，加上十多小时的飞行，在抵达影棚等待工作人员到来的十多分钟，我们在门口就打起盹了，要多狼狈就有多狼狈。

Beijing's summers always arrive early. The three of us were drenched in sweat, and after more than ten hours of flying, we found ourselves dozing off at the entrance while waiting for the staff to arrive. It was a pretty dire sight.

出现在面前的是堪比我当时工作单位造船厂才有的那种硕大厂房，棚高少说20-30十米，一个巨大的水池布满了差不多整个的影棚，这就是影片《奇迹寻踪》最后一些关于大海镜头的镜头的拍摄地，也是惘闻一周后要演出的场地。因为电影当时只是刚刚杀青，我们就从部分剧照和导演程然的语言描述来获得一些关于这部影片的想法和意境氛围。勘察完影棚以及和导演程然交流完，我们唯一的想法就是在这里我们没法演任何惘闻即有的作品，只能根据这个环境做一场即兴的氛围音乐演出。

What appeared before us was a colossal studio space rivaling the shipyards where I used to work. The studio had an astounding height of 20 to 30 meters, and a massive pool covered almost the entire studio. This was the location where the final scenes of " In Course of the Miraculous," which involved the sea, were filmed. It was also the place where Wang Wen would perform for a week. Because the film had just finished production, we could only gather an impression of the movie's themes and atmosphere from some stills and the director Cheng Ran's descriptions. After surveying the studio and discussing with Cheng Ran, our only thought was that this was not a place to perform any of Wang Wen's existing works. Instead, we created an improvised atmospheric music performance that would suit this unique environment.

尽管惘闻的作品很多都是从即兴排练中获得的灵感而发展出来的，但我们从来没有做过一次即兴演出。所以从这层意义上讲，这场演出也让乐队紧张而兴奋。虽然说是一场即兴的演出，但很多音乐结构框架以及音乐/非音乐的概念部分，也让一周的准备时间变得相当紧凑。我们在排练室的黑板上先写上了“混沌”这两个字，从这个抽象的概念开始，我们进而写满了整个黑板，然后将这些直线性或者并行性发展的概念连接在一起，一瞬间突然感觉工作完成了一半。我记得当时我们的排练室只有十八平米左右，加上大提琴秋阳，七个人挤在一起排练一个要在充斥着回声的硕大影棚进行的演出，这想想就充满了某种刺激和不确定性。

Even though many of Wang Wen's works have originated from improvisational rehearsals, we had never attempted an entirely improvised performance. In this regard, this performance left the band both nervous and excited. While it was an improvisational show, the preparation involved many aspects of musical structure and the concepts of music and non-music, making the one-week preparation quite intensive. We started with the abstract concept of "chaos" written on the blackboard in our rehearsal room. Beginning with this point, we filled the entire blackboard with ideas and connected these linear and parallel concepts. Instantly, it felt like we had completed half of the work. Our rehearsal room was rather small, approximately 18 square meters, and with Xu Qiuyang who was on the cello, seven of us squeezed together to rehearse. The performance would take place in a massive studio filled with echoes, creating an exhilarating and uncertain environment.

演出当天我自己都感觉到奇怪，因为丝毫没有一点紧张，或许是整个的空间以及那片人工“海洋”带给我的感觉，似乎自己和乐器发出的声音被无限包容和承载着，就像人工“海洋”里漂浮的一座座“冰山”还那只孤单的道具帆船一般。当然我们也并不是孤单的，当天还是有得到演出消息的100多人来到了这个五环外的“奇迹”现场，和惘闻一起感受了一个从来没有过的现场。而我们的主角，导演程然,在影棚门口支起了烧烤炉子，亲自给所有来的朋友们烤着免费又好吃的羊肉串，那绝对是一个难忘而充满奇迹的北京夏日。

On the day of the performance, I felt a sense of strangeness because there was no nervousness. It might have been the spaciousness of the venue and the feelings the artificial "ocean" provided. It seemed as though the sounds produced by both myself and the instruments were embraced and carried infinitely, much like the "icebergs" floating in the artificial "ocean" alongside a solitary prop sailboat. Indeed, we were not truly alone that day. Over 100 people who had received news of the performance joined us at this "miraculous" location just outside the Fifth Ring Road. Together, they experienced a live event unlike any other with Wang Wen. Our central figure, director Cheng Ran, set up a barbecue grill at the studio's entrance and personally grilled delicious lamb skewers for all our friends who had gathered. It was unquestionably an unforgettable and miraculous summer day in Beijing.

s themes and atmosphere from some stills and the director Cheng Ran

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2015年，惘闻乐队开始着手参与到9小时电影《奇迹寻踪》的声音实验和配乐工作之中。这部电影的一半段落在中国东海地区和西藏以及瑞士和阿姆斯特丹拍摄完成，另一半在北京的室内影棚内搭景轮船及甲板的局部，以舞台剧的形式拍摄。当电影在北京完成杀青镜头之时，程然导演和惘闻都觉得这个硕大的模拟海面和现场空间，是一处极具挑战的声音氛围现场实验地。惘闻提议，是否可以在这里做一个乐队长久以来都特别希望完成的声音挑战，于是我们在“海面”上搭建舞台，完成了一次长达1小时的半即兴声音实验演出，整个演出现场以海洋为主题，进行了一次对乐队而言极具意义的“与空间的声音对话”。而这首长达1小时的音乐作品，也成为了奇迹寻踪9小时电影的完整片尾曲。

In 2015, the band Wang Wen embarked on a unique sonic experimentation and scoring project for the 9-hour film

"In Course Of The Miraculous." This epic film, which was shot in a theatrical style, was divided between

locations in the East China Sea, Tibet, Switzerland, and Amsterdam, and an indoor studio in Beijing designed to

resemble ship decks. Upon the film's completion in Beijing, both Director Cheng Ran and Wang Wen realized the

challenging nature of the vast simulated sea surface and on-site space, particularly in terms of sound. Wang Wen

proposed an intriguing idea: could they take on a sound challenge that the band had long aspired to undertake in

this setting? Consequently, we constructed a stage on this "sea surface" and performed a one-hour

improvisational sound experiment. The entire live performance was thematically centered around the ocean,

providing the band with a profound opportunity for a "sonic dialogue with space." This hour-long musical

composition eventually became the comprehensive end credits song for the 9-hour film "In Course Of The

1981年生于中国内蒙，目前生活和工作于杭州，

是一位非常活跃且高产的青年艺术家。

Born in Inner Mongolia, China, in 1981,

Director Cheng Ran currently resides and works in Hangzhou.

He is a highly active and prolific young artist.

“当电影拍摄的最后一天，我决定开放影棚的大门，把原来属于电影的道具和空间交给惘闻，看看有什么会发生。在演出开始，人造的黑色海面、冰山、帆船，巨大充满混响的空间，一切都变得无比迷人，一首长曲改变了空间的命运，我从未感受到如此震撼。很荣幸能与惘闻一起工作，因为他们足够疯狂。”

"On the final day of the film shoot, he decided to open the studio doors and hand over the props and studio

space to Wang Wen, to see what would happen. As the performance began, the artificial black sea, icebergs,

sailboats, and the vast, reverberating space all became incredibly captivating. A long piece of music

transformed the destiny of the space. He had never felt such an overwhelming experience. It was an honor to work

with Wang Wen because they are crazy enough.

惘闻x导演程然“奇迹寻踪”9小时实验电影

Wang Wen x Director Cheng Ran "In Course Of The Miraculous" 9-hour experimental film

九小时片长的电影《奇迹寻踪》(In Course of the

Miraculous)建基于几个真实的历史事件，由三个合共横跨一个世纪的故事交织，组成一个平行发展的叙述，诉说探险悬案，同时探讨自由、自主及历史等议题。讲述在攀登喜马拉雅山、跨越大西洋以及远洋捕鱼的过程中发生的故事。每个故事都以探索为目的或动机，每个动机之下都隐藏着人性的最深层面。

The nine-hour film "In Course of the Miraculous" is founded on several historical events and weaves together

three stories spanning a century, thereby creating a parallel narrative. It explores adventure mysteries while

delving into freedom, autonomy, and history themes. These stories unfold in the context of climbing the

Himalayas, crossing the Atlantic, and deep-sea fishing. Each story is motivated by the spirit of exploration,

with profound layers of human nature lurking beneath.

影片的第一个故事讲述了乔治·马洛里之谜，一名英国登山家在1924年首次尝试挑战攀登珠穆朗玛峰后失踪。马洛里下落一直不明，直至1999年于珠峰海拔约8190米处发现马洛里遗体。至于最终马洛里有没成功登顶成为历史悬案。这问题一直受到不同的推测、调查与争议。

The film's first story revolves around the enigma of George Mallory, a British mountaineer who disappeared after

his pioneering attempt to climb Mount Everest in 1924. Mallory's fate remained a mystery until his body was

discovered on Everest at an altitude of approximately 8,190 meters in 1999. Whether Mallory successfully reached

the summit has remained an unsolved historical puzzle, sparking various speculations, investigations, and

影片第二个故事，也是电影《奇迹寻踪》名称的来源，讲述了Bas Jan

Ader，一名荷兰观念艺术家、表演艺术家、摄影师及电影制作人，对“失败”、“失去”及追求浪漫式英雄主义感到非常着迷，于1975年，登上一艘当时历史上最细小的，只有13英尺的“Ocean

Wave号“帆船，从美国出发，横渡大西洋，此后去无踪影的故事。

The second story, also the inspiration for the film's title, "In Course of the Miraculous," centers on Bas Jan

Ader, a Dutch conceptual artist, performance artist, photographer, and filmmaker. Ader was deeply captivated by

the themes of "failure," "loss," and the pursuit of romantic heroism. In 1975, he embarked on a remarkable

journey aboard the "Ocean Wave," the world's smallest sailboat back then, measuring only 13 feet. Setting sail

from the United States, he endeavored to cross the Atlantic but tragically disappeared without a trace.

影片第三个故事讲述了在2010年12月，一行33人，乘坐”鲁荣渔2682号“渔船出海驶向秘鲁及智利。原定为历时两年的航行，但在起程六个月后失去联络。八个月后，渔船终被发现并拖回港口。可是，船上只剩下11名船员，并且全部声称没杀人。

The third story of the film recounts an expedition in December 2010, involving 33 people who set sail aboard the

fishing vessel "Lurongyu 2682" towards Peru and Chile. Initially planned to last two years, the voyage lost

contact after six months. Eight months later, the fishing boat was finally discovered and towed back to port.

However, only 11 crew members remained, and all of them claimed they hadn't committed any murders.

《奇迹寻踪》对惘闻来说是一个非常有趣的尝试，也是惘闻正式发行的首张配乐作品，更为特别的是这里面也包括了我们根据影片做的一次主题式的现场即兴演出录音。在着手开始这个盒子里面的音乐创作之前，我仅仅读了电影脚本。然而惘闻真正开始切入这部电影却是从2015年5月31日在阿荣影棚的那场即兴演出开始。

"In Course of the Miraculous" was an intriguing experiment for the band Wang Wen and marked their first official

soundtrack release. Notably, it includes a thematic live improvisation recording inspired by the film. Before

delving into the musical creation within this box, I had only read the film's script. However, Wang Wen's real

immersion in this film began with the improvisational performance on 31 May 2015 in Arong Studios.

演出前的一周我（吉他手谢玉岗）和吉他手耿鑫一起去了阿荣影棚看场地，那时的北京已经有30度了，我们刚结束巡演，头天晚上一夜未眠，然后直接被车拉到了一个不知道是哪里的地方，一切感觉都太不真实了。不过幸运的是我们来看了场地，这才让我们重新更改了演出计划。因为面对一个近千平米，挑高近20米的空旷厂房，以及地面上人工制造的“汪洋大海”，我们之前的演出设计瞬间变成了废纸。

A week before the performance, I, Xie Yugang, and fellow guitarist, Geng Xin, visited Arong Studios to inspect

the venue. We had just concluded a tour in Beijing, which was at a sweltering 30 degrees, and we hadn't slept

all night before getting driven to an unknown place. Everything felt surreal. Fortunately, we had the

opportunity to survey the venue, prompting us to rethink our performance plan. Confronted with a nearly 1,000

square-meter open factory space with a nearly 20-meter-high ceiling, it was a man-made "vast ocean" on the

ground, making our previous performance design obsolete.

于是接下来一周的准备时间，乐队开始以“海洋”为主题来构思这个特别的演出。我们一起重新看了电影脚本，以及部分未剪辑的影片，最终我们决定构思四个场景然后以即兴的方式来演绎主题。演出是5月31日下午2点钟开始，当我们7个人走到水面之上的舞台拿起各自乐器的那一刻开始，我们每个人就像是大海里面的一条条小船，迎着风和浪的方向吹响了号角。

During the following week of preparation, the band began to conceptualize this unique performance with the theme

of the "ocean." We revisited the film script and watched some of the unedited footage. Ultimately, we created

four scenes and interpreted the theme through improvisation. The performance began at 2:00 PM on 31 May. When

the seven of us walked onto the stage that was above the water, each picked up our instruments, and it felt as

if we were a fleet of small boats on the high seas, blowing our horns in the direction of the wind and waves.

这次对于乐队来说收获良多、颇为难忘的录音过程，最后以五集的“冰岛录音VLOG”形式纪录了下来。这五集几乎没有什么对话的影像，我们在空灵的自然环境中伴随音乐徜徉，希望你看到画面时也能感受到我们录音时感受到的那种平静满足的氛围。

The recording process was gratifying and unforgettable for our band. We created a five-part "Iceland Recording

VLOG" series to document our experience. These five episodes feature minimal dialogue. Instead, we meander

through ethereal natural landscapes, accompanied by our music. We hope that as you watch these videos, you'll

also sense the serene and contented atmosphere that enveloped us during the recording.

开始为这部影片写其他场景音乐的时候，大连回声图书馆的窗外雪花正在飘，冬天来了。于是所有的炙热和寒冷最终都被收进了了这个黑胶盒子。

As we began composing music for other scenes in the film, snowflakes were drifting outside the windows of the

Echo Library in Dalian, signaling the arrival of winter. All the fervor and chill eventually found their place

“由于空间安全问题，音响最终没有吊装，我们选择放在水面舞台的两侧，反而让声音变得更加有趣，在空间内的每一个角度，直达声和反射声都非常不同，每个人的听感都与众不同，对我而言，这不是一场调音，更像是我和这座空间和这些声音的一次对话”

惘闻乐队的调音师邓成龙这样回忆道。

"Due to concerns about spatial safety, the speakers were ultimately not hung as intended. Instead, we placed

them on both sides of the water stage. Surprisingly, this decision made the sound even more intriguing. The

direct and reflected sounds differed significantly from every angle within the space. Each person's auditory

experience was unique. For me, this wasn't merely a sound adjustment. It was more like a conversation between

myself, the space, and these sounds," recalled Deng Chenglong, the sound engineer for Wang Wen.

“这是独立影像和独立音乐之间一次可贵的合作的开端。在北京的即兴实验现场是惘闻的一场关于海洋的声音对话，关于行动，关于思考的无所畏惧的勇敢的交谈。”艺术媒体们这样评价这场特别的音乐影像开幕展。

"This marked the valuable beginning of a collaboration between independent visuals and music. The impromptu

experimental performance in Beijing was Wang Wen's fearless dialogue about the ocean, action, and contemplation.

It was a brave conversation," described an art media when sharing about a unique opening exhibition.

“令我们兴奋的是，现场前来观展的观众都对《奇迹寻踪》项目表现出了极大的热情及好奇心，无论是《奇迹寻踪》即兴音乐实验演出现场时，惘闻及团队对于现场装置、光影变换、演奏方式的运用，还是《奇迹寻踪》影片本身所在探讨的自由、自主及历史等议题，都在观众中引起了一定的讨论热度。”

——法国A2Z画廊

"We were thrilled to see that the audience attending the opening exhibition showed great enthusiasm and

curiosity for the 'In Course of the Miraculous' project. Whether it was the impromptu music experiment

performance or Wang Wen's and the team's use of live installations, light and shadow variations, the mode of

performance, or the themes explored in the 'In Course of the Miraculous' film, such as freedom, autonomy,

history, all sparked substantial discussions among the audience."

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台版CD由Space Circle和台湾厂牌十一音乐共同发行。

The Taiwanese edition of the Album "Swee Home, Go!" was jointly released by Space Circle and the Taiwanese label, Elevenz Music.

《岁月鸿沟》台版CD唱片发行后，我们在年底前往台北和高雄举办了台湾双专场演出，这也是惘闻第四次前去台湾演出，前三次分别是2009年、2012年和2013年。

After releasing the Taiwanese edition of "Sweet Home, Go!" Wang Wen held two special performances in Taipei and

Kaohsiung before the end of the year. This marked Wang Wen's fourth performance in Taiwan, with the previous

three being in 2009, 2012, and 2013.

和老友昆虫白

With our old friend, Insect White.

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After Hours是由日本重量级的独立乐队MONO、envy、downy联合主办的特别音乐会。2017年是After Hours举办的第二年，除了主办乐队全部参与外，Toe、Boris、world's end girlfriend、DJ KRUSH、mouse on the keys、LITE等一系列日本器乐摇滚重量级乐队参与其中。惘闻作为唯一一支海外乐队受邀参演，这也是惘闻首次日本的正式公演。在日本的短短三天，我们亲历演出现场感受台前幕后，并与日本优秀的乐队交心地沟通，着实感受到主办方实现了发起音乐节的初衷：高手与高手之间的对话，互相鼓励，用独立之姿联合发出更大的声音。这支影片纪录了惘闻首次日本公演之行：

Wang Wen embarked on a journey to the Japanese After Hours Music Festival, jointly hosted by prominent Japanese independent bands MONO, envy, and downy. In its second year in 2017, the festival featured the organizing bands and other renowned Japanese instrumental rock bands such as Toe, Boris, world's end girlfriend, DJ KRUSH, mouse on the keys, LITE, and more. Wang Wen was the sole international band invited to perform, marking their inaugural official performance in Japan. During our brief three-day stay in Japan, We experienced the live performances, behind-the-scenes ambiance, and interacted with exceptional Japanese bands. This experience exemplified the festival's original intent: a dialogue among accomplished musicians, mutual encouragement, and a stronger united voice within the independent music scene. This documentary captures Wang Wen's first performance tour in Japan.

拍摄&剪辑：Geek Shoot Jack

Director and Editor: Geek Shoot Jack

s original intent: a dialogue among accomplished musicians, mutual encouragement, and a stronger united voice within the independent music scene. This documentary captures Wang Wen

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对谈惘闻和程然：相遇即奇迹

`Interview with Wang Wen and Cheng Ran: A Miraculous Encounter`

Numero大都市

专访惘闻：我们不要变成说教的一代就好

Blow吹音乐