2018

谢玉岗的笔记本

冰岛录音

视觉&设计合作

Visual & Design Collaboration

海内外巡演

媒体专访

破晓

老虎棒子鸡

水之湄

独舞

竹鹤

大连，勿语

尾声

惘闻乐队

离的越远并不会看得更清，但对很多事情来说或许会获得更多的思考角度。《看不见的城市》就是这么构思的一张专辑。录音被放在了冰岛，一个奇妙的国家，它带给我们了很多想象不到的灵感，也让心底里原本清晰的“城市”变成“看不见”。

Being farther away does not necessarily offer a clearer perspective, but it can provide additional angles for contemplation. This is the underlying idea behind the album, "Invisible City." The album recording took place in Iceland, a captivating country that infused us with unexpected inspirations, and transformed our once vivid "city" into something "invisible."

“过去两年，我认识的不少年轻人，都离开了大连这座城市，去更有活力的地方生活和工作。而依然伫立的这座城市越来越沉默，也越来越模糊。有一天我突然想起了卡尔维诺的那本，我始终没有读完的书，翻开它的前几章，我看到了自己曾经用铅笔画下的字句，

‘每个城市都从她面对的荒漠获得自己的形状；于是赶骆驼的人和水手所看到的，就是这样处在沙的荒漠与水的荒漠之间的苔斯皮纳。’于是就有了这张唱片的名字: 《看不见的城市》。然而这本书我依然没有读完。”

——谢玉岗

2018年6月26日

"In the past two years, I've met many young people who are leaving the city of Dalian in search of more

vibrant places to live and work in. Meanwhile, the city grew increasingly silent and obscure. One day, a

memory stirred within me as I recalled an unfinished book by Italo Calvino. Opening its early chapters, I

encountered my penciled words, "Each city derives its shape from the desert it exists within. Thus, the

camel drivers and sailors' perception of the Despina are distinct realms between the desert and the sea."

From this, the album's title, 'Invisible City,' emerged. However, I must confess that I have yet to complete

2016年初，当惘闻完成了《岁月鸿沟》最后一天的录制，我们在大雪封门的录音室里回放录音文件时，想下次一定要做一张暖色调的唱片。至于怎样进入暖色，我们还完全不知道。

In early 2016, when we finished recording the final day of "Sweet Home, Go!," we were in the recording studio,

surrounded by heavy snowfall, listening to the recorded files and contemplating our desire to create an album

with warm tones. However, we had no idea how to achieve this feeling of warmth at that moment.

或许因为大连的春天总是来的很迟，那之后做出来的东西，我们都没感觉到温度变化。第一轮的巡演回来，才到了大连最舒适的季节。看来，我们就是始终被周围环境影响的一帮人。

Perhaps it was because spring in Dalian always arrives late, but we did not sense any change in the atmosphere

in our subsequent work. It was not until after our first touring round, during Dalian's most comfortable season,

that we finally felt the warmth we sought. It seemed that our surroundings continually influenced us.

后续的创作逐渐进入轨道，在排练室录完了一个粗糙的demo后，我们就开始寻思着去哪里录制这张唱片。和惘闻每张专辑之后都会换一个新的排练室不太一样（因为每次都是在不得已的情况下），每张新唱片我们都希望在一个新的录音环境下进行，觉得这样或许会带给我们一些不同的情绪和感受，另外，在一个新的录音室里，我们每个人总能学到一些新的技能。

As our creative process continued, things began to fall into place. After recording a rough demo in our

rehearsal room, we considered where to record this album. This approach differed from our previous albums, where

we changed rehearsal rooms out of necessity. With each new album, we wanted to record it in a fresh environment,

anticipating that it might bring forth different emotions and experiences. Moreover, in a new recording studio,

新技能也包括觅食：冰岛录音期间我们大采购了一番自己在民宿中做饭吃。通常做饭的是吉他手耿鑫、鼓手连江和调音师小龙三位大厨。

We also acquired new skills, including culinary skills. While recording in Iceland, we went on a significant

grocery shopping spree to prepare meals in our rented accommodations. Guitarist Geng Xin, drummer Zhou

Lianjiang, and sound engineer Deng Chenglong typically handled the kitchen duties.

2017年我们的调音师小龙和经纪人孙怡去冰岛旅行，拜访了那个由游泳池改建的很出名的录音棚Sundlaugin，之后乐队就收到了他们发来的录音棚环境和设备的照片资料。那时我们刚订完了欧洲巡演，所以决定干脆在巡演之前，去冰岛录制这张新唱片。

In 2017, our sound engineer, Deng Chenglong, and manager, Sun Yi, took a trip to Iceland. During their visit,

they explored the renowned Sundlaugin recording studio, a former swimming pool converted into a studio.

Afterward, they shared photos and details about the studio's environment and equipment with us. This coincided

with our recent confirmation of the European tour plans, prompting us to decide to record the new album in

Iceland before setting off.

冰岛的Sundlaugin录音棚外面有一条小河，山上融化的雪水不断的注入其中，录音的间歇，打开控制室靠近阳台的门，在屋里就能听到水流的声响。可能因为冰岛特殊的地热资源，即使我们录音的那些天，几乎是冰岛最冷的时候了，这条小河也没有结冰，远远看去还弥漫着水雾气。录音到现在半年过去了，我已经记不得录音棚外面其他的地貌特征了，但这条小河却始终清清楚楚的留在了脑海里，它的岸边除了白雪，空空荡荡……这样的感受最后注入了《水之湄》这首歌中。

Outside Iceland's Sundlaugin recording studio, a small river flows steadily, constantly nourished by the melting

snow from the mountains. During our recording breaks, we would open the door near the control room to the

balcony, allowing us to hear the gentle sounds of the flowing water inside the house. Despite our recording days

coinciding with some of Iceland's coldest weather, this little river remained unfrozen, surrounded by a

lingering mist. It's been half a year since the recording sessions, and I can no longer recall the specific

landscape details surrounding the studio. However, the image of this small river, bordered only by white snow

and vast emptiness, remains vividly etched in my mind. This unique experience ultimately inspired our song "Mail

这张唱片的制作人，是我们在《岁月鸿沟》专辑就合作过的Wouter和Lode兄弟。通过在一起十多天的工作，我们对彼此的工作方式有了更多的理解。但更重要的是，我们非常信任对方。在抵达冰岛之前，

我们在邮件中聊了很多录制这张唱片的想法，希望每个人能把对冰岛以及这个录音棚的主观感受都带入到录音和棚里的再创作之中。

The producers for this album were Wouter and Lode, the same brothers we collaborated with on the "Sweet Home,

Go!" album. After more than ten days of working together, we better understood each other's work styles.

However, what mattered most was the solid mutual trust that developed between us. Before arriving in Iceland, we

exchanged numerous ideas about how to approach the recording of this album via email. We hoped each member would

infuse their subjective impressions of Iceland and the recording studio into the recording process and the

subsequent creative work.

得益于大家充分的准备和计划，整个录音非常顺利。我们在录音棚里把那些在市面上很难找到的老乐器和设备，挨个试了一个遍。大家玩的兴奋的同时，也学到了很多东西，所以即使每天都要工作12个小时以上，也不觉得疲惫。这样的气氛下，就算经过了冰岛的冬日极夜，最终的录音也如我们最初所愿，是一张温暖的作品集。

The recording proceeded smoothly, thanks to the thorough preparation and planning. In the studio, we

meticulously tested a variety of old instruments and equipment that are rarely found in the market. While

everyone enthusiastically explored these tools, we also gained substantial knowledge along the way. This meant

that even though we put in more than 12 hours of work each day, exhaustion was never a feeling that overtook us.

Within this atmosphere, despite enduring Iceland's winter polar nights, the final recording emerged exactly as

we had envisioned – a warm compilation of musical works.

惘闻和Sundlaugin录音棚主理人Biggi

Wangwen and Biggi, the owner of Sundlaugin recording studio.

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.

perception of the Despina are distinct realms between the desert and the sea." From this, the album

惘闻冰岛录音 VLOG #1

Wangwen Iceland Recording VLOG #1

惘闻冰岛录音 VLOG #2

Wangwen Iceland Recording VLOG #2

惘闻冰岛录音 VLOG #3

Wangwen Iceland Recording VLOG #3

惘闻冰岛录音 VLOG #4

Wangwen Iceland Recording VLOG #4

惘闻冰岛录音 VLOG #5

Wangwen Iceland Recording VLOG #5

岑骏是生活在纽约、国际知名的插画师，他曾获得美国插画师协会金奖、世界插画大奖的总体最佳新晋艺术家大奖、艺术指导俱乐部大奖的铜奖，也和众多海内外媒体、品牌合作过。2018年，岑骏出版了第一本个人画集《缺失空间》。

Cen Jun, an internationally renowned illustrator residing in New York, has garnered prestigious awards such as

the Gold Medal from the American Society of Illustrators, the Best Emerging Artist award from the World

Illustration Awards, and a Bronze Award from the Art Directors Club. He collaborated with numerous media outlets

and brands and published his first personal art collection, "Negative Space," in 2018.

一次偶然的机会，吉他手谢玉岗看到岑骏的画册《缺失空间》，就被里面的作品深深的吸引了。它们总是在一种现实和超现实之间奔跑着，每一个画面似乎都同时具备两种矛盾的特质和情绪：第一眼看起来安详、平静；过一个瞬间再看，它又展现出了忧郁、孤寂的景象。他每一幅作品都棱角分明，在颜色的偏好和使用上，有一种说不出来令人着迷的气质。

By fate, guitarist Xie Yugang stumbled upon Cen Jun's art book, "Negative Space," and was profoundly captivated

by its contents. Cen Jun's artwork perpetually traverses the realms of reality and surrealism, with each piece

seemingly encapsulating two contradictory qualities and emotions simultaneously. Initially appearing tranquil,

they unveil a profound sense of melancholy and solitude upon closer examination. Each of his works boasts sharp

definition, and there's an ineffable allure in his choice and utilization of colors.

刚刚录制完专辑开始构思这张唱片的封面的时候，回放了一遍录音，我们第一个想到的画面就是岑骏的画作。后来通过朋友的介绍终于找到了岑骏。幸运的是，岑骏也非常喜欢惘闻的音乐，这真是太棒了。他为看不见的城市创作了4幅插画，整体构成了一个完整的故事线。巨大的紫色立方体悬浮在城市上空，城市被吸入其中，搅拌混合。而在紫色立方体中有一个神秘的核心，藏着更大的秘密。

When we commenced pondering the album cover right after completing the recording, we revisited the audio

recordings. The first imagery that sprang to mind was Cen Jun's artwork. Through a friend's introduction, we

eventually connected with Cen Jun, and serendipitously, he happened to be an ardent admirer of Wangwen's music.

This was genuinely fantastic. He crafted four illustrations for "Invisible City," forming a coherent narrative.

A colossal purple cube looms above the city, drawing it into its depths, where everything blends and melds

together. Concealed within this purple cube lies an enigmatic core harboring even deeper secrets.

在我们看来，岑骏的每一幅画作都有很多对立的情绪：第一个瞬间觉得悲凉，第二瞬间觉得温暖；同样，反过来也依然成立。对录制完专辑进行回放的惘闻而言，这种感受和这张唱片里面的歌曲特别像，它好像是好听优美的，同时也是悲伤晦暗的。

From our perspective, each of Cen Jun's artworks brims with contrasting emotions: at first, they may evoke a

sense of sadness and, in the next instant, warmth. Similarly, the reverse holds true. This duality resonates

strongly with the songs on Wangwen's album. It's as if the music is simultaneously beautiful and haunting.

后来，《看不见的城市》封面获得了2018年阿比鹿最佳专辑设计奖，同时也入选了第38届美国插画奖（American Illustration Winner）。

Ultimately, the cover art for "Invisible City" received the 2018 Abilu Best Album Design Award and was selected

for the 38th American Illustration Winner.

岑骏为“看不见的城市”系列后来新创作、未用在唱片中的一幅作品

A piece of unreleased artwork that Cen Jun later made for the album "Invisible City."

《看不见的城市》是惘闻第一次尝试以付费方式上线数字专辑。作为乐迷来说，我们认为对于一张自己喜欢的唱片，第一时间用付费方式去聆听会更加珍惜那一个小时的音乐的陪伴，会更仔细去聆听每一个细节，相信这张唱片是值得的。作为乐队来说，我们也希望了解会有多少人真正愿意付费支持惘闻的音乐，也希望鼓励有更多乐队敢于做这样的尝试。令人惊喜的是，有超过我们想象数量的朋友支持了《看不见的城市》。自此，“一个月付费聆听后再开放免费线上试听”这也变成了一个惯例延续到后面两张专辑的发行中。也许未来我们会尝试其他更多与时俱进的专辑发行方式，也希望创作者都能依靠作品获得应有的回报，乐迷也能继续支持自己所爱的作品。

"Invisible City" was Wangwen's first attempt to release a digital album through a paid platform. As music

enthusiasts, we believe that paying for immediate access to a cherished record makes us treasure that hour of

musical companionship even more. We listen attentively to every detail, believing this album is worth it. As a

band, we also wanted to gauge how many people genuinely support Wangwen's music enough to pay for it. We wanted

to encourage more bands to dare to attempt such an approach. To our delight, more friends than we could have

imagined supported "Invisible City." Consequently, offering one month of paid listening before transitioning to

free online streaming became customary, extending through the release of our two subsequent albums. Perhaps in

the future, we'll explore more contemporary album release methods with the hope that creators receive their

deserved recognition and that music enthusiasts can continue supporting the works they love.

数字专辑销量破万时我们的调音师小龙激动地截图

之后每张数专上线破万的时间越来越短

A screenshot from our sound engineer, Deng Chenglong. He could not contain his excitement when the digital

album sales crossed the ten thousand mark. What's even more remarkable is that with each subsequent digital

album release, the time it took to reach this milestone became shorter and shorter.

插画家岑骏为《看不见的城市》专门绘制了一套四张完美的作品：连贯，深思，厚重，唯美……当这四幅画作交到装帧设计师卢涛手中时，他大胆地使用不同的“折叠打开”方式，让每一次翻转都可以展开这套作品的不同局部，材质的把握选择和添加的工艺也恰到好处地将艺术插画中的故事表达出来。特别选择了PVC透明封套，将封底文字印白呈现在封套上，是为了保证插画作品的完整性。带着对这张唱片的尊重，我们与优秀的艺术家设计师一起合作完成了这张唱片，实体唱片的美好，也正在于此，这套唱片也成了惘闻再版次数最多的经典唱片之一。

Illustrator Cen Jun crafted a stunning set of four artworks exclusively for "Invisible City," each reflecting a

different facet: coherence, contemplation, depth, and beauty. These artworks were handed to layout designer Lu

Tao, who fearlessly experimented with various "fold-open" techniques, allowing each flip to reveal different

segments of this artistic collection. His choices in materials and crafting adeptly conveyed the narrative

embedded in these creative illustrations. A deliberate choice was made to employ PVC transparent packaging with

white-printed text on the back, preserving the artwork's integrity. With profound respect for this album, we

collaborated with exceptional artist-designers to bring this record to life. The allure of the physical album

resides in these elements, and this collection has emerged as one of Wangwen's most frequently reissued classic

`岑骏`

s art book, "Negative Space," and was profoundly captivated by its contents. Cen Jun

s introduction, we eventually connected with Cen Jun, and serendipitously, he happened to be an ardent admirer of Wangwen

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2018年年初就以欧洲巡演开场。显示前往冰岛雷克雅未克录制新专辑《看不见的城市》，也在这里开始了巡演第一站。录音完毕后，我们从北欧飞到了欧洲大陆完成了剩下的巡演。

Our European tour commenced in early 2018. Before that, we set off to Reykjavík, Iceland, to record our new

album, "Invisible City," which also marked the tour's first stop. After wrapping up the recording in the Nordic

region, we flew back to mainland Europe to continue the remaining shows.

2018惘闻欧洲巡演地图

Map of Wangwen's 2018 European Tour

从瑞士的Sion到苏黎世，两站演出都美极了，这个国家真的是特别漂亮安静，两个场地Le Port Franc和Rote Fabrik都给我们留下了太深的印象。

We had two remarkable stops in Switzerland, Sion, and Zurich, which captivated us by their breathtaking beauty

and serene ambiance. Switzerland, known for its stunning landscapes, made a lasting impression on us through

venues like Le Port Franc and Rote Fabrik.

在匈牙利布达佩斯收获了特别的礼物，来自场地的伙伴。匈牙利的建筑实在是特别不同，很特别的美感。

In Budapest, Hungary, our venue partners surprised us with a special gift. The unique architecture of Hungary

contributed to a distinct sense of beauty.

巡演回程前和一路帮助我们的老朋友Pg.Lost乐队的Gustav合影

Group photo with Gustav from the band Pg.Lost, who had been supporting us throughout the tour

投影仪是我们这次巡演中的大功臣。我们想要配合《看不见的城市》中的音乐带来不一样的现场，因此考虑在舞美上有所设计。厂牌的伙伴想到用投影仪反向放置，播放高对比度的素材来得到氛围感的光线，用最简单的设备制造出充满意境的现场。这四台投影仪到现在还使用中，有时也会出现在其他音乐人的现场。

Projectors played a pivotal role during our tour, allowing us to create a unique live experience in harmony with

the music of "Invisible City." We decided to invest in scenic design, and our label partners devised an

ingenious idea. They proposed using projectors in a reverse setup, projecting high-contrast visuals to craft an

immersive atmosphere using minimal equipment. These four projectors are still used today, occasionally appearing

at other musicians' shows.

深圳站

杭州站 摄影：Panda

Hangzhou Photographer: Panda

巡演到一个令人哭笑不得的“螺丝刀风波”。我们巡演到某一站时被舞台工作人员收走了谢用作乐器的螺丝刀，误以为是场地工具箱里遗漏的工具。演出到要使用的段落时才发现螺丝刀不见了，有点慌……还好最后递上来了。

During our tour, we encountered a rather amusing "screwdriver incident." At one venue, the stage crew mistakenly

took away a screwdriver we were using as an instrument, believing it to be an overlooked tool from their

equipment box. Only when we needed the screwdriver for a specific part of our performance did we realize it was

missing. Fortunately, the situation was quickly resolved when the screwdriver was returned to us, leaving us

with laughter and relief.

11月17日 泰国曼谷

17 November - Bangkok Thailand

11月18日 马来西亚

11月20日 新加坡

和An Atmos 团队大合影

Group photo with the band An Atmos

11月23日 香港

11月24日 澳门

THIS IS MY CITY FESTIVAL

12月1日 台中 Legacy专场 & 12月2日 台北 简单生活节

1 December - Taizhong Legacy Stage; 2 December - Taipei Simple Life

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《95分钟，打开惘闻的音乐地图》

Exploring Wangwen's Musical Landscape in 95 Minutes

优斯迪吧

《专访惘闻｜看不见的城市，听得见的温暖与关照》

`An Interview with Wangwen | Audible Warmth and Care in an “Invisible City”`

that' 杂志

《在惘闻乐队“看不见的城市里”，我看见了后摇兴起的“暖色”》

Finding Warmth in Post-Rock Music In Wangwen's “Invisible City”

音乐财经