2024 | Europe Tour

一张精选唱片

Wang Wen 25th Anniversary Live Collection

18场“昨日的聚会”

第五次欧洲巡演

亚洲巡演和“三国演义”

“Romance of the Three Kingdoms

海边日出现场直播

周边唱片再版

Long Arm合作

Remix单曲《壬寅》发行

发行日期：2024年2月10日

发行厂牌：Space Circle

平面&装帧设计：非白工作室

Release Date: 10 February 2024

Designed by Transwhite Studio

2024年初这张精选现场专辑，开启了惘闻25周年的聚会。邀请设计团队非白工作室为这张意义非凡的唱片来设计主视觉与实体唱片装帧，获得了Award360° 【年度最佳音乐设计奖】。

The release of this live album in early 2024 marked the beginning of

Wang Wen's 25th-anniversary celebration. We invited the design team

Transwhite Studio to create the main visual and physical packaging for

this significant album, which won the Award360° 【Best Music Design of

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这次国内巡演分成3月和6月两轮完成

海报设计/非白工作室

We finished this tour seprately in March and June.

Poster Design: Transwhite Studio

我们希望在这次25周年巡演每一场都力求达到最稳定完美的演出效果，因此这次特别租赁超级大货车，从调音台到全部舞台设备全部全程自带，尽量以标准化的设备和流程来保证巡演中不同场地的音效稳定。3月巡演时我们第一次以20多人的大团队共同完成了这次短暂但难忘的旅程。

For our 25th-anniversary tour, we aimed to deliver the most stable and flawless performances at every stop. To achieve this, we took an extra step by renting a super-sized truck, carrying everything from the mixing console to all stage equipment with us throughout the tour. By using standardized gear and processes, we ensured consistent sound quality across different venues. During the March tour, for the first time, a team of over 20 people worked together to complete this short yet unforgettable journey.

图为3月巡演结束时我们、嘉宾小巫师乐队以及整个幕后团队的合影

This photo shows a group picture of us, our guest band Little Wizard, and the entire backstage crew at the end of the March tour.

这次巡演的另一个尝试，是与特邀日本灯光师中野刚先生的合作。他大胆且充满叙事感的灯光，也为惘闻现场赋予了更多的想象空间。正是一个个真实的人，构成了我们关于这次巡演鲜活的回忆。再次特别感谢3月的嘉宾乐队小巫师、团队中的每一位辛苦的工作人员，始终支持的场地朋友们，还有每一位到场的你。

Another highlight of this tour was our collaboration with special guest lighting designer Mr. Go Nakano from Japan. His bold and narrative-driven lighting design brought a new dimension to Wang Wen’s live performances, expanding the space for imagination.

It is the presence of real people that makes our memories of this tour so vivid. Once again, we extend our heartfelt thanks to our March guest band Little Wizard, every hardworking team member, the venue partners who supported us throughout, and most importantly—to, to every one of you who attended.

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海报艺术作品：常青

海报设计：非白工作室

Illustration: Chang Qing

Poster Design: Transwhite Studio

这次欧巡海报选用了艺术家常青老师的作品“龙舞九天”，是我们都很欣赏的作品，也非常感谢非白工作室充满当代质感的海报设计。今年是龙年，希望能通过这条充满活力的龙来向世界传递吉祥。我们能深刻地感受到，2024是特别的一年，世界正在从“孤岛”再次汇集成“大陆”。这是我们时隔五年再次去欧洲，兴奋感不亚于第一次：古老的表演场地，涌入大量全新的面孔，新与旧的碰撞带来重新与世界建立联络的新奇。

For this European tour, we selected artist Chang Qing’s work, Dragon

Soaring Through the Nine Heavens, as the poster artwork—a piece we deeply

admire. We are also grateful to Fei Bai Studio for their contemporary and

visually striking poster design.

As 2024 is the Year of the Dragon, we hope this vibrant dragon can bring

blessings to the world. This year feels especially significant—we can

sense that the world is transforming from isolated “islands” back into a

This was our first time returning to Europe in five years, and the

excitement felt just like our very first tour. Stepping into historic

venues, seeing crowds filled with new faces, and experiencing the

collision of the old and the new—it all brought a thrilling sense of

reconnecting with the world.

抵达本次Dunk!音乐节所在城市比利时根特，那天雨后放晴，这里显得浪漫又惬意。不过让我们最开心的还是再次见到乐队的老朋友，也是惘闻很多张专辑的制作人Wouter,

期待着下一次见面。

Arriving in Ghent, Belgium, the city hosting this year’s Dunk! Festival,

we were greeted by clear skies after the rain, making the atmosphere feel

both romantic and relaxing.

But what made us happiest was reuniting with an old friend of the

band—Wouter, the producer behind many of Wang Wen’s albums. We look

forward to our next meeting!

这次巡演中两个最大亮点，是惘闻受邀参演两个欧洲最重要的器乐摇滚音乐节：根特的

和伦敦的Portals Festival。今年Dunk!音乐节的演出场地在前进艺术中心的

Kunstencentrum VIERNULVIER

。我们试音时看到场地，都觉得太酷了！

这已经是我们第三次在Dunk!表演了，灯光与音乐的配合依然震撼无需多言。在最后一站Portals压台表演结束后，现场观众全体起立，掌声久久不散长达一分多钟。我们深刻地感受到一种久违的、由音乐带来的联结。那一刻，不需要语言、只要我们都亲临现场，便能感受到音乐的共鸣。

Two major highlights of this tour were Wang Wen’s invitations to perform

two of Europe’s most important instrumental rock festivals: Dunk!

This year, Dunk! Festival was held at the

and saw the venue, we all thought—this place is absolutely incredible!

third time performing at Dunk!

the synchronization of lights and music was breathtaking beyond words. For

. At that moment, we deeply felt

a long-lost sense of connection, one that only music can create. No words

were needed; just by being there together, we could all experience the

这是我们第三次来到德累斯顿的Beatpol演出，非常感谢三次邀请，让我们感觉像回到了温暖的家里一样。

Beatpol实在是太漂亮了，复古、静谧又温馨和充满爱的场地，还提供了美味的食物和冰啤酒！

third time performing at Beatpol in Dresden

are incredibly grateful for the three invitations that have made us feel

like we’re returning to a warm and familiar home.Beatpol is truly a

vintage, serene, cozy, and filled with love

of that, they treated us to

delicious food and ice-cold beer

在布拉格，我们与来自韩国的老朋友、器乐摇滚乐队JAMBINAI共演，之后我们还一起亚洲巡演了，是2024最难忘的回忆。

, we shared the stage with our old friends from South

the instrumental rock band JAMBINAI

. Later, we even embarked

, making it one of the most unforgettable

如果说最初是因为好奇外面世界的模样，为了开阔眼界，那么之后年复一年坚持走向世界，背后究竟是什么信念？在惘闻本次欧洲巡演最终站Portals音乐节结束时，答案渐渐浮现：即便是在这个信息时代，仍有些必须要共同经历、真实触碰才能感受到魅力的东西，比如现场音乐。

如果世界不过来，那我们就过去。

curiosity about the world beyond

But after years of venturing out, what is the belief that keeps us going?

Wang Wen’s European tour

, the answer gradually became clear: even in this

digital age, there are still things that

must be experienced together, physically felt, and truly touched

If the world doesn’t come to us,

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夏天的时候，我们和

日韩两支亚洲顶尖器乐摇滚乐队MONO、Jambinai

相聚在东京/大阪，呈现了两场令人难忘的

「三国演义Romance of the Three Kingdoms」

特别企划。三支器乐摇滚乐队的表演纯粹依赖音乐本身，几乎不借助歌词或语言，只是通过音乐蕴藏的能量建立和所有人之间的连接。为了这两个美妙的夜晚，打破国界，连接彼此。

伴随这个难得的特别企划，我们也邀请到三国最厉害的平面设计艺术家，

非白工作室（CN）

和

，请他们根据"三国演义Romance of the Three

Kingdoms"这一主题来自由发挥，设计他们想象中的演出海报。我们将这次特别企划看作是一次重新建立「联结」的契机，希望通过优秀的现场音乐与视觉艺术，让人们再次看到世界文化交流之希望，并对未来抱有共存合作的信心。

This summer, we joined forces with MONO (Japan) and Jambinai (Korea) – two

of Asia’s finest instrumental rock acts – for an unforgettable Romance of

the Three Kingdoms special project, delivering two transcendent nights in

Tokyo and Osaka. United through sound rather than words, all three bands

forged profound connections with audiences purely through the raw energy

of their music, transcending linguistic and cultural boundaries in these

magical evenings of sonic communion.

To commemorate this rare collaboration, we invited leading graphic artists

from each nation – Transwhite Studio (China), Centre Inc. (Japan), and

Sulki & Min (Korea) – to reimagine Romance of the Three Kingdoms through

their own visionary poster designs. This project stands as a testament to

cultural reconnection: Through explosive live music and bold visual

artistry, we reignited hope for global creative exchange, proving that

shared passion can bridge divides and illuminate paths toward

很难想象在日本演完出庆功宴居然是老北京火锅！特别开心可以和MONO

Jambinai一起有这样一次难的的机会在一起分享舞台，我们从他们身上都学习到很多。

Who would've thought we'd be celebrating post-show in Japan with authentic

Beijing hotpot?! This rare opportunity to share the stage with MONO and

Jambinai was an absolute joy – we learned so much from these masters of

紧接着，我们开始了与JAMBINAI的联合亚洲巡演。很高兴通过这次一起在路上共演的经历，我们加深了对彼此音乐与表达的理解。接下来一段时间里，也许和JAMBINAI不会经常见面，但只要想到彼此仍在音乐创作的道路上踽踽前行，心中便充满了光明。

Then came our joint Asia tour with JAMBINAI. Those shared nights on the

road deepened our mutual understanding—not just of each other’s music, but

of what we’re all trying to say through sound. Though our paths may not

cross as often in the coming days, just knowing we’re still out there—each

of us walking our own solitary yet purposeful way through this landscape

of music—fills me with quiet brightness.

三国演义Romance of the Three Kingdoms

8月的尾巴，我们和4.6万人在线上再次回顾了虾米音乐节阿那亚海边日出专场。我们将这段美好时光珍藏，愿音乐能带我们，再次回到那个最美好的海边早晨。

On the final days of August, we relived our sunrise set at the Xiaomi

Music Festival with 46,000 souls watching online—that magical morning by

the Aranya seaside. We'll keep this memory close, letting the music carry

us back to that perfect coastal dawn whenever we need it.

无穹

我们把惘闻的三张经典专辑《0.7》、《八匹马》和《辛丑壬寅》，以全新再版的方式再次带给大家。也第一次尝试将惘闻乐队鼓手周哥的女儿创作的“龙年大吉”画作做成T恤，还和我们的老朋友西班牙插画师Error! Design合作了一款“中国特色”熊猫吃竹T恤，都受到大家的热烈欢迎。

We're proud to reintroduce freshly remastered editions of Wang Wen's three iconic albums: '0.7', 'Eight Horses', and 'Painful Clown & Ninja Tiger'. This special release comes with exciting first-time merchandise - a limited edition tee featuring drummer Zhou Lianjiang's daughter's vibrant 'Year of the Dragon' illustration, plus our playful 'Panda' design created with longtime Spanish collaborators Error! Design (their quirky take on Chinese cultural motifs). Both designs have been met with overwhelming love from fans worldwide.

re proud to reintroduce freshly remastered editions of Wang Wen

Painful Clown & Ninja Tiger

无穹

秋天时候，我们的老朋友、圣彼得堡电子音乐人Long Arm中国巡演期间，还发行了他Remix的一版惘闻《壬寅》单曲。经过Long Arm之手，《壬寅》焕发出令人意想不到的电影画面感，仿佛在迷雾森林中奔跑着寻找出口。推荐大家去再次重温。

This autumn, our longtime friend and St. Petersburg electronic producer Long Arm not only toured China, but also gifted us his stunning remix of Wang Wen's "Ninja Tiger". Transformed through Long Arm's signature touch, the track blossoms with an unexpected cinematic quality—like sprinting through mist-laden woods, chasing glimpses of daylight.

如今，“昨日的聚会”已经散场

而我们确信:

创作不会停息。

"All Yesterday's Parties" may have ended,

文中现场摄影：

付靖 / 总监majordomou6 / 鸭米Yummy / 貳偽馬 / 蓝仔

s "Ninja Tiger". Transformed through Long Arm

壬寅(Long Arm Remix)

Ninja Tiger (Long Arm Remix)

大学毕业之后，我们去到过的大部分城市都是因为音乐的缘故，石家庄是最早的一个。2003年春节刚过，惘闻就第一次来到了石家庄，去爱摇录制乐队的第一张专辑。吉他手谢玉岗对石家庄的第一印象，是和他少年时期生活的油田特别像，宽敞的马路两边都是一排排整整齐齐的老苏联款式的板楼。

下了火车我们按照爱摇杂志上的地址来到了一幢破旧的像是临建的房子面前，在这里我们等候未曾谋面，仅通过几次电话的录音师晓朱。不一会儿一辆沧桑的北京吉普停在了我们面前，车标被换成了land

从车里下来一个酷似黄健翔的男子开口和我们打招呼，没错，就是晓朱，本人要比电话里听起来的那个人年轻十岁。

这是一个纯DIY搭建出来的录音棚，以现在的标准来看当然非常简陋。但能看出来设计者的仔细和用心。最外面是一个狭长的小屋作为休息区，只有一个长沙发，一个茶几和几把凳子。里面是录音区，能看到出于隔音和声学的考虑重新砌的砖墙，在录音区的角落是一个半圆型的控制室。在当时我们看来，所有这一切简直太专业太摇滚了。

接下来的一周就进入了一种loop似的生活和工作状态。每天早上大家从爱摇宿舍的炕上爬起来，如厕洗漱之后就到路边吃正宗的石家庄早点摊，鸡蛋灌饼配安徽板面。晓朱每天九点都会开着他心爱的北京路虎来接我们，从宿舍到录音棚大概得开二十分钟，他在车上一直放着一个叫Morphine

的乐队，主唱低沉的嗓音和低音萨克斯配合北京路虎发动机的嗡嗡声，我们像极了一个正在公路巡演的摇滚乐队。

对于录音我们当时完全是门外汉，幸好有晓朱的帮助，让工作变得轻松了很多。铮子从那个时候就开始成为了每次乐队录音期间的后勤部长，每天他都会买一个黄桃罐头给当天录音时间最长最辛苦的人。

录音来到了最后一天，当时的小谢依然没有把歌词写完。据他回忆：“一大早蹲在宿舍院子里的旱厕里翻看着用来记歌词的小本，二月底石家庄的那天早上，屁股被冻的生疼……”

这一天我们工作到很晚，在晓朱检查录音音轨和其他人补录的间歇，小谢终于把最后一个歌《垂死的岁末》的词写在了小本上。

离开石家庄的那天，晓朱开车送我们去车站，途中他在一幢居民楼下停下了车，然后指着顶楼的一个窗户说：“爱摇杂志的办公室就在那，你们要不要上去看看？”虽然有那么强烈的好奇心，但我们还是决定让这个神秘的摇滚乌托邦的一部分留在脑海里面的各种想象中。

火车驶离石家庄站的时候，透过车窗，远处的树木和田地已经泛起绿芽，阳光也刺透了天空中浑浊的雾霾。

After graduating from university, I traveled to various cities mainly for

music, and our first stop was Shijiazhuang. Just after the Spring Festival

in 2003, we made our first visit to Shijiazhuang to record our debut album

*Shijiazhuang, city and capital of Hebei province, northeastern China.

The name of "Shijiazhuang" which means a small village. It is truly a

village at first, but then growth into one of China’s major cities began

in 1906. Shijiazhuang is a city majoring in heavy industries. There are

a lot of chinese rock bands grown in this city, so the rock scene

My first impression of Shijiazhuang was reminiscent of the oil fields

where I spent my teenage years. The broad streets had rows of neatly

aligned, old Soviet-style apartment buildings.

Alighting from the train, we navigated the streets based on the address

provided in the So Rock! Magazine, and found ourselves before a weathered,

makeshift building. Here, we awaited the arrival of Xiao Zhu, the

recording engineer whom we had only spoken to over the phone a few times.

Before long, a rugged Beijing Jeep pulled up before us. Its emblem had

been replaced with a "Land Rover" logo. A man, who bore a striking

resemblance to Huang Jianxiang, stepped out to greet us. It was none other

than Xiao Zhu himself. He appeared to be a decade younger in person than

what his voice sounded over the phone.

The building housed a recording studio crafted entirely through DIY

efforts, which by today's standards might appear quite simple. But, one

can discern the meticulous care and attention that had been poured into

its design. On the outermost edge sits a long, narrow cabin that serves as

a relaxing spot. It was sparsely furnished with a lengthy sofa, a coffee

table, and a few stools. Inside, the recording area reveals reconstructed

brick walls for soundproofing and acoustic considerations, and there was a

semicircular control room tucked away in a corner. At the time, this

struck us as remarkably professional and rock 'n' roll.

The ensuing week fell into a repetitive loop of living and working. Each

morning, the band would emerge from their kang beds in the So Rock!

dormitory. After washing up, they would venture to the roadside stores for

an authentic Shijiazhuang breakfast: egg-filled pancakes paired with

Anhui-style noodles. At nine o'clock, Xiao Zhu would pick us up in his

beloved Beijing Land Rover at nine o'clock. The twenty-minute journey to

the studio would be filled with tracks from the band, Morphine. The lead

singer's deep voice blended harmoniously with the low saxophone and the

hum of the engines, and it evoked the feeling of a rock band on a highway

At that time, we were complete novices when it came to recording.

Thankfully, Xiao Zhu's assistance made the process much smoother. From

that moment onwards, Xu Zengzheng assumed the role of the logistical chief

for every recording session we had. Each day, he would purchase a can of

peaches for the person who had endured the most extended and most

I struggled to complete the lyrics even as the recording session

approached its final day. Early that morning, I sat on the toilet in the

dormitory courtyard as I flipped through my notebook, where I scribbled

the song lyrics—the chilly February morning in Shijiazhuang left me

uncomfortably frozen. As we worked late into the night, with Xiao Zhu

meticulously checking the recordings while the others added their final

touches, I completed the lyrics for our last song, "Dying Year End," in my

notebook during the breaks.

Xiao Zhu drove us to the station on the day of our departure from

Shijiazhuang. Along the way, he spontaneously stopped beneath a

residential building and pointed to a window on the top floor as he asked,

Despite my burning curiosity, I decided to leave the mystique of this rock

'n' roll utopia intact, allowing it to linger in my imagination.

As the train pulled away from Shijiazhuang station, I gazed out of the

window and noticed trees and fields already sprouting green buds in the

distance. The sunlight broke through the hazy sky, signaling the promise

年轻的我们

2019年6月，惘闻结束了疫情前最后的一次欧洲巡演来到香港，等待两天后参加“响朵”音乐节，一个亚洲范围内的show

case活动，参演的乐队们就像模特般轮番登台表演，期待着能被来自亚洲各地的音乐节主办方们相中去参加他们的音乐节。

演出前的两天也正好是巡演结束后难得的休息时间，所以除了吃饭我就一直待在酒店房间躺着，睡不着也躺着。到了深夜时分，乐队爱喝酒的人就聚到了我的房间，买了一些酒大家聊天，但很明显刚经过了巡演，似乎所有的话题已经都聊遍了。于是找来扑克牌斗地主，结果都被声称从来没玩过斗地主的乐队经纪人赢走了。牌局散，酒光光，我下楼去买酒。

酒店楼下就有一个7-11 Seven Eleven

便利店，已经是凌晨三点左右了，便利店的门口有一个姑娘坐在台阶上抱头痛哭。我买完酒出来的时候，她还在哭。我愣了一会儿往酒店走，走了几步还是禁不住回去问她出了什么事。她告诉我她今天从湖南来找她男朋友，她男朋友也是湖南的，来到香港工作了一年多了，前段时间两人吵架，男朋友提出分手，她接受不了于是来到香港找他。她只记得他就住在7-11对面的这个公寓楼上，但不知道具体地址，所以就一直在楼下等着希望能碰到他。我们又聊了一会儿，从她的讲述中我觉得她男友应该已经是决绝的分手了，而且这个姑娘也清楚这一点，但她就是不死心，一定要见面说清楚。我见她情绪开始稳定下来了，也不再哭了，就和她说，你已经做到你想做的事情了，他也知道你来香港找他了，他既然这么决绝的不见你，就先收起伤心，明天请你来看我们的演出吧。她错愕了一下，然后问了我演出的地址。

第二天演出后，我收到了她的信息，她说她来看了演出，很激动，这也是她第一次看摇滚乐的演出，她没等到她的男朋友，但是她已经决定就此放弃回湖南了。

那次演出完也是我最后一次看到阿和，他是之前香港的演出场地Hidden

Agenda和当时TTN的主理人。惘闻每次在香港演出后我们都会在一起喝酒，喝到酣处，阿和都会难过的痛哭。这次他和我们讲述了很多在香港做场地所经历的那些我根本无法想象的困难和被打压，甚至是针对他个人的威胁和羞辱。他和他的合伙人一直在硬扛着让香港保留着一个独立乐队演出的场所，已经扛了快十年了。

转年的2月在网络上看到TTN结束了最后一场演出，彻底关门了。阿和后来去了泰国。那个在7-11门口哭泣的女孩，不知道是不是还在湖南。

music, and my first stop was Shijiazhuang. Just after the Spring Festival

2004年那会儿，惘闻再一次失去了自己的排练室。在朋友的介绍下，我们搬到了一个按小时收费的公共排练室。它在兴工街机车商厦的地下，是一个硕大的人防工程，里面除了排练室还有茶馆，餐馆，但都是门可罗雀。因为距地面很深，即使夏天待在排练室里面也会感觉冷嗖嗖的。

那段时间因为各自工作时间的原因，很多时候大家排练都不是很准时，先到排练室的人就会在一起随意的玩一会儿。污水塘就源自有一次我和耿鑫一起演奏的一个动机，也就是这首歌的前奏部分。但很长时间大家都没有去发展它，直到几年后随着其他人陆续的加入了各自的部分，它才变成了现在的样子。

清楚的记得那个夏天雨水特别多，大连虽然三面临海，但因为很多洼地的原因，每次大雨很多地方就会积水被淹。一次排练后走到地面的台阶上。大雨使得积水从无数的污水井中涌出，在我们面前出现了一个池塘。

当时排练的机车商厦

The shopping mall where our rehearsal room was.

In 2004, Wang Wen lost their rehearsal space once again. Following a

friend's recommendation, we relocated to a public rehearsal space charged

by the hour. Situated beneath the Motorcycle Emporium in the Xinggong

Street, it was a sprawling civil defense project. It housed a tea house

and a restaurant alongside rehearsal rooms, but they were all eerily

empty. As it was buried deep underground, the rehearsal space felt

chillingly cold, even during the summer.

Our rehearsals often started later than planned during that period due to

everyone's varying work schedules. Those who arrived first would pass the

time casually until everyone gathered. The idea for "Polluted Pond"

stemmed from a motif Geng Xin and I played together; that piece became the

intro to this song. However, it remained undeveloped for quite some time.

It was not until several years later, as others gradually contributed

their parts, that it evolved into its current form.

I vividly remember that summer when we experienced particularly heavy

rainfall. Despite Dalian's coastal location, the city's numerous low-lying

areas meant heavy downpours often led to flooding. After one rehearsal

session, we ascended the steps to street level. The relentless rain had

caused water to surge out from countless sewage wells, forming a pond

2012年的初春，惘闻第一次来到了宁波北仑，也是第一次在大连之外录制唱片。我们租了一个民宿，乐队连同录音师安子都住在了一起。对于我们几个北方人来说，这个季节的南方一点也不友好，录音的十多天一半时间都是阴雨绵绵，身上总是又冷又潮。所有人更多的时间都喜欢待在录音棚的控制间里，因为这里有一台始终通电的调音台，它像一个巨大的电暖器，我们像一群猫咪围在它周围取暖。

因为是同期录音，所以每次大家一起录上几遍后就歇一歇在录音棚所在的楼道里抽烟，溜达。透过窗户的玻璃，注视着没有太阳的天和像雾一样的毛毛雨，一切都是湿漉漉的。不过这些并没有阻碍大家的好心情，因为第一次离开我们熟悉的环境录音，所有的新鲜感和刺激感胜出。也是从这次录音开始，大家才有机会也有意识的开始学习一些录音方面的知识，也从录音师安子的工作中了解到了很多之前见不到的录音制作相关的设备和工作原理流程，这些或许才是这次录音过程最大的收获。

离开北仑的那个早上，天上还是飘着毛毛雨，拉我们去机场的出租车司机载着租住民宿所在的小区绕了一圈才开上了去往机场的公路。问他为什么不倒车出来而是绕一圈，他平静的说：“车子的倒档坏了，还没修。放心，送你们的路上不需要倒档。”

In the early spring of 2012, Wangwen went on our first recording

expedition outside Dalian to Beilun, Ningbo. We rented a guesthouse and

shared the living quarters with our recording engineer, An Zi. For us

northerners, the South wasn't exactly hospitable during this season. Over

the ten-plus days of recording, the weather remained consistently gloomy

and rainy, leaving us feeling cold and damp most of the time. As such, we

spent most of our time huddled in the studio's control room, where a

steadfast mixing console served as a makeshift heater, providing us with

much-needed warmth amidst the chill.

During our recording sessions, we would take breaks to smoke and stroll in

the hallway outside the recording studio. This was necessary because of

our simultaneous recording sessions, and several takes together. We peered

through the glass window and saw a sunless sky and misty drizzle, and

everything was soaked with moisture. However, these conditions did not

dampen our spirits. It was our first time recording away from our familiar

studio, and we were excited about the novelty of it all. We began to

consciously learn about the recording techniques during this session, and

our recording engineer, An Zi, guided us and provided insights into

recording equipment and previously unfamiliar processes. Perhaps these

were the greatest rewards of this recording process.

The drizzle persisted in the sky on the morning of departure from Beilun.

The taxi driver taking me to the airport took a detour around the

neighborhood where my guesthouse was located before finally heading

towards the airport. I asked him why he took a detour instead of reversing

directly, and he calmly responded, "The car's reverse gear is broken and

hasn't been fixed yet. Don't worry, we won't need reverse on the way to

2014年的时候，老谢在回声图书馆第一次听到Long

Arm的专辑《Kellion》，于是就成为了他那一年播放次数最多的唱片。后来Long

Arm和一个乐手朋友来中国巡演，非常遗憾因为其他工作的原因没能去看他们的现场。这之后没过多久，Long

Arm发来邮件，想要remix一首惘闻的作品，于是我们的联结又一次建立了起来。

我们非常喜欢Long Arm remix版本的岁月鸿沟。确切的说，这是Long

Arm重新编曲以及补充作曲而呈现的新作品。他用灵动的手法把一个充满沉重泥泞感的作品变成了一个跳跃感十足的新曲。2020年惘闻在阿那亚第一次做线上直播演出的时候，我们决定用乐队的形式演奏Long

Arm重新编曲的这版岁月鸿沟，因为正是在那个疫情将整个世界割裂的时期，我们需要通过音乐重新建立起新的链接。

In 2014, I stumbled upon Long Arm's album "Kellion" at the Echo Library,

and it quickly became the soundtrack of my year. When they toured China

later on, I regretfully couldn't make it to their live show due to prior

commitments. However, not long after, Long Arm reached out via email,

expressing interest in remixing one of Wangwen's tracks, and this

I'm enamored with Long Arm's remix of "Sweet Home, Go!" It's not just a

remix but a whole new rendition crafted by Long Arm through rearrangement

and additional composition. With skillful finesse, he transformed a piece

that once felt heavy and murky into a vibrant and lively track. Fast

forward to 2020, Wangwen held our first online live-stream concert at

Aranya, and it felt like the perfect moment to perform Long Arm's remixed

version of "Sweet Home, Go!" as a band, especially during a time when the

pandemic was fracturing the world, and music served as a means to

2020年阿那亚的现场我们第一次演奏了Long Arm remix版本的《岁月鸿沟》

We played "Sweet Home,Go(Long Arm Remix)" version for the first time in

Aranya Art Center for the special live show.

现在我们还依稀记得大家创作这首歌时的情景：六个人挤在当时那个差不多十五平米的小排练室里，一边演奏着自己觉得不错的反复段，一边努力竖起耳朵辨识着从四周墙壁反射过来其他人的段落，就这样我们有了它的雏形。当时我们的排练房在美丽豪酒店里：贝斯手铮子在琴行工作时认识了好兄弟刘总，特别喜欢音乐的刘总把他酒店后院的库房一间屋子借给我们排练。大家自己在墙面做了吸音，并装了空调。乐队在这里排练期间出了两张专辑，《十万个为什么》里也有几个作品在这里创作。

一直到最终正式录制《21世纪不适症》的时候，它还只是一个充满拧巴感的小样作品，似乎每个人都有一种执念在这首作品里面，它们有的时候能成为奔向一个方向的合力，有的时候又像是分散的离心力。制作人Wouter的介入才最终把它那些炸起来的毛理顺，成为了现在的样子。现在想想，那些拧巴或许就是自己和自己较劲，也在和其他人较劲。

Even today, I still remember the scene of us creating this song. There

were six of us crammed into a tiny rehearsal space that was barely 15

square meters in size. As we played through different sections, we

struggled to hear snippets of the music amidst the echoes bouncing off the

walls. Eventually, the song began to take shape, but it remained a

complicated draft filled with everyone's ideas until the final formal

recording of "Lost in 21st Century." At times, our individual ideas

brought us together and pushed us forward. However, at other times, they

pulled us apart. It wasn't until our producer, Wouter, intervened that the

song's tangled threads were untangled. The producer helped us to create

the version that we hear today. Looking back, our struggles were a

combination of internal conflicts and creative differences among us.

美丽豪酒店的排练房 & 当时排练房里的鼓手连江

Back to the tme when our rehearsal room in a hotle named Meilihao.

《看不见的城市》专辑在冰岛录音时偶然在室外发现孤零零的电脑

We ran across a lonely computer in wild when we recorded "Invisible

It's a weird but nostalgic scene.

写信和收信最多的时候是刚上大学那会，大部分都是和之前的高中同学互诉衷肠。那时候每天最期待的就是收到来信，开盲盒般的期待感。回信的时候鸡毛蒜皮，有的没的小事都会洋洋洒洒写满两三张信纸，以显诚意。不过基本到了大学二年级，随着和新同学的熟络，绝大部分的通信就逐渐中断了。大学毕业在宿舍的最后一晚，又把这四年收到的信拿了出来，边读边烧掉在洗脸盆里。

后来大家都开始email了，到手机普及后纸质信件就销声匿迹了。每次打开自己的电子邮箱的时候不会再有期待，甚至还会有一种恐惧感，因为也几乎没有人用email发私人邮件了，邮箱里除了工作邮件就是广告邮件。

Mail From the River就是塞进漂流瓶里的信，你捞起来的是实物的还是电子的呢？

During my early days in college, letter writing and exchanging letters

reached its peak. Most of my correspondence was with my high school

classmates, and we exchanged our innermost thoughts and feelings through

letters. I eagerly awaited each day for the letters to arrive, and it gave

me the excitement of opening a mystery box. When crafting replies, I

carefully filled pages with trivial details to convey sincerity. However,

as I grew closer to new acquaintances in my second year of college, the

frequency of communication gradually dwindled. On the final night in the

dormitory before graduation, I gathered all the letters accumulated over

the four years. As I perused them one last time, I solemnly consigned them

Over time, the emergence of email and the popularity of smartphones made

physical mail almost irrelevant. Checking the mailbox became less exciting

and more worrisome as personal emails became scarce among a flood of

work-related and promotional messages.

"Mail From the River" is akin to the message in the bottle - Are the

letters you found inside drifting bottles tangible or digital?

小时候养的唯一的一只狗我给她取名叫迷拉，她那时候刚断奶就被抱回家，总是迷迷糊糊的肆意在任何地方大小便。80年代初的油田，我们一家五口住在像宿舍一样统一的平排房里，迷拉就被放在屋外的简易厨房里。每晚我睡觉前会去厨房用两个小板凳拼在一起，在上面放一个垫子然后把她抱上去，期待她享用我为她安置的床。但她就是反复的跳下去然后蹲在地上萌萌的看着我，我就坚定的一遍又一遍的把她抱上去，后来她就习惯了在两个拼起来的小板凳上睡了，直到她长得大到小板凳床已经容不下了她的身躯。

父亲终于答应给迷拉建一个狗窝，我们花了一下午的时间捡回来砖头和稻草在屋门口给她搭了一个真正的狗窝，在搭建的过程中她就已经欢喜的不行，早早的趴在了还没有盖好屋顶的房子里。

有一段时间母亲的工作是夜班看养鱼池，从傍晚到凌晨要在养鱼池旁边的窝棚里守夜，迷拉那时也会被带去和母亲做伴儿。一天半夜迷拉疯狂的叫声把我们都吵醒了，父亲起身跟随她来到养鱼池才发现母亲和几个晚上来偷鱼的人起了争执，是迷拉回来叫救援才避免母亲被偷鱼人的伤害。

有一天我放学回来没有看到迷拉，平时都是没等我进家她就会把尾巴摇断了般的跑出去接我，我叫了许久也没有回应，最终我在地窖里找到了迷拉，她努力的摇晃着她的尾巴，身子下面多了七只小狗崽。

那是一段特别开心的时光，我每天都会把七个小狗崽抱到院子里晒太阳，根据他们身上不同的特征开始给他们起名字，觉得自己是一个拥有八只狗，最幸福的人。

和迷拉的经历相仿，七只刚断奶的小狗崽都被我母亲分别送给了附近的邻居们。当我放学回来知道后大哭了一场，并和母亲吵了一架。想到这些小狗崽都还在附近的邻居家慢慢的情绪也就平复了。邻居把领养的小狗喂得都很好，以至于没有几个月他们就长到了接近迷拉的大小，他们看似还是那么快活的一家人，经常会跑到一起玩耍、打闹，到了晚上各自再回家。

直到有一天，油田开始了打狗运动，我放学回来的时候，迷拉的所有孩子都没了。母亲把迷拉藏在屋里的床下，迷拉浑身都在哆嗦。傍晚的时候，妈妈告诉我，实在没有办法，只能把她送给农村的亲戚家了。当母亲拿出一条麻袋让迷拉钻进去，她怎么都不肯，战战兢兢的躲在角落里不动弹。母亲后来伤心的和迷拉说：没有办法，在这里我们保护不了你了，带你去别的地方吧。迷拉就真的像听懂了似的钻进了麻袋里。

那天我没哭，只是把头转了过去再也不敢看迷拉的眼睛。

When I was young, our family had only one dog named Mila. We brought her

home right after she was weaned. She would always wander around,

half-asleep, doing her business wherever she pleased. In the early 80s,

our family of five lived in a row house that resembled a dormitory in the

oil fields. Mila stayed in the makeshift kitchen outside. Every night

before bed, I would go to the kitchen, put two small stools together,

place a cushion on top, and lift her onto it, hoping she would enjoy the

bed I had prepared for her. But she would repeatedly jump off, squat on

the ground, and stare at me with her innocent eyes. I would firmly lift

her back onto the makeshift bed repeatedly. Eventually, she got used to

sleeping on the two adjacent stools and did so until she grew too big for

Eventually, my father finally agreed to build a doghouse for our furry

friend, Mila. We spent a whole afternoon gathering bricks and straw and

constructing a sturdy kennel for her at the entrance of our house. She was

ecstatic throughout the building process and eagerly lay inside the house

even before the roof was completed.

For some time, my mother worked night shifts as a security guard for a

fish pond. She had to stay in a hut near the pond from dusk until dawn.

Sometimes, Mila, our family dog, would accompany her at work. One night,

Mila's frantic barking woke us all up, and my father followed her to the

fish pond, where he discovered that my mother was arguing with several

people who had been caught stealing fish that night. Thanks to Mila's

barking that alerted us, we prevented the fish thieves from causing any

One day, upon returning home from school, I was surprised to find that

eagerly greet me at the door, wagging her tail with enthusiasm. I called

out for her but received no response. After searching, I eventually found

her in the basement cellar, wagging her tail excitedly with seven adorable

little puppies snuggled up beneath her.

This was such a joyful period of my life. I would carry the seven puppies

outside to bask in the sunlight each day. I began to name them based on

their unique characteristics and felt incredibly fortunate to have eight

Like Mila's experience, my mother gave away her seven newly-weaned puppies

to our neighbors. When I learned about it upon returning home from school,

I cried bitterly and argued with my mother. However, knowing that the

puppies were all nearby and were well cared for by our neighbors gradually

eased my emotions. The neighbors took great care of the adopted puppies,

feeding them so well that they grew almost as big as Mila within a few

months. The puppies still seemed like one happy family, often playing and

frolicking together before returning to their respective homes in the

Until one day, the oil field started enforcing a crackdown on dogs. When I

returned home from school, I discovered that all of Mila's puppies were

missing. My mother had hidden Mila under the bed in our house, and she was

trembling with fear. In the evening, my mother explained that we had no

choice but to send Mila to relatives living in the countryside. When my

mother brought out a sack for Mila to crawl into, she refused stubbornly

and trembled in the corner without making any movement. Later, my mother

coaxed Mila with sadness, stating, "We have no other option. We cannot

protect you here anymore. Let's take you somewhere else." Mila seemed to

understand her words and crawled into the sack.

On that day, I did not cry. I could not bear to look into Mila's eyes, so

*The cover image and this picture used do not feature the main character,

Mila. As this story took place during a time before there were mobile

phones to take photos. While searching for images, I came across this

photograph of a little dog that bears a striking resemblance to Mila.

*The cover image and this picture used do not feature the main

character, Mila. As this story took place during a time before there

were mobile phones to take photos. While searching for images, I came

across this photograph of a little dog that bears a striking resemblance

封面和这张图并不是主角迷拉，因为那时还没有手机可以拍照。在搜图时发现了这只和迷拉长得很像的小狗。

《八匹马》录制是在当时大连的回声图书馆

We recorded our 8th album "Eight Horses" in Echo Library,Dalian

《第八层地狱》大概是在2011年惘闻排练室搬到华宫的那段时间创作的。华宫是一个奇妙且荒诞的地方，它是一个倒闭且荒废多年的酒店，位于中山公园内，和公园内很多建筑一样，大都是九十年代建造的仿古样式。华宫的正门还有一座尚未搬迁走的地藏王殿，同时日据时期的圣德神社也在公园内被保留了下来。

我们的排练室就在华宫这个废弃酒店一层的一个标准间内，除了有电之外，什么也没有。即使这样的条件，还是有很多外地打工人租住在这个硕大的废墟建筑里。

排练室入口处常年拴着一只比特犬，主人在他旁边立了一个牌子，上面写着：Tom凶猛，朋友们请勿靠近。每次去排练老谢都会给Tom带根火腿肠，时间久了满以为它和我们已经很熟了。结果有一天，老谢带着自家的狗小强(英文名Johnson）去排练室，一个不留神小强跑脱了去和Tom打招呼，结果被Tom一爪子按到了地上，此刻我们才注意到这只一脸可怜相的Tom满身的肌肉。就在老谢奔过去解救小强之际，Tom一口把他的鞋子咬掉了，幸好乐队其他人也在门口：连江过去拽Tom的狗绳，耿鑫拿了根树枝去勾我的鞋子，Tom张开大嘴就像动画片里的场景一样，咯吱咯吱把那根树枝从头到尾咬了个稀碎。幸好最终人狗无恙。那天之后，我们在Tom的牌子上加了两个字，改成：Tom果然凶猛，朋友们请勿靠近。

还有一次我们正在标准间内热火朝天的排练，突然从房间的天花板上掉下来一个人，是的，一个人，他重重的摔在地上，然后站起来拍了拍屁股，对我们说了声对不起就跑了出去，留下呆若木鸡的我们几个。

夏天到来的时候，我们决定在华宫这个奇妙的建筑中做一个现场演出的拍摄，找来了好几个做摄影摄像工作的朋友来帮忙，最终我们选在了一个二楼的平台之上。那是一个周末的下午，阳光明媚，我们把所有音响乐器设备都搬到了平台上布置好，负责摄影的朋友也分别在各个房顶上架好了机位。当最美最佳的那束阳光照过来，演出开始了，观众只有一些我们的朋友，还有公园内闻声看热闹的大爷大妈，楼下的Tom也不住的往上张望。我们开心尽兴的表演完便开始在平台上和大家开始了烧烤啤酒爬梯。第二天所有拍摄的DV带不见了，没人能够想起来它们被放在哪里了。

第二年开春的时候，房东被一群黑社会赶跑了，我们也只能卷铺盖卷走人了。这段时间其实我们排出了不少作品，但都随着那些盘DV带一起丢失了。《第八层地狱》算是为数不多剩下来的，它和我们在华宫的这段奇妙的经历一样，荒谬又真实。

The idea of "Eighth Layer of Hell" was likely conceived when Wangwen moved our rehearsal space to Huagong in 2011. Huagong is a strange and surreal place located within Zhongshan Park, an abandoned hotel that has been closed and deserted for many years. Like other structures in the park, it was primarily built in the imitation antique style popular in the 1990s. At the main entrance of Huagong, there is an untouched Temple of Kshitigarbha, while the Shinto shrine from the Japanese occupation period is also preserved within the park.

Our rehearsal space was in a standard room on the first floor of this abandoned hotel, with nothing except electricity. Despite its sparse conditions, many out-of-town workers still rented rooms in this vast, derelict building.

A pit bull was always tethered at the rehearsal space's entrance. Next to it was a sign that read, "Tom is fierce. Friends, please do not approach." Xie would bring a sausage for Tom every time he went to rehearsal, which made everyone feel more comfortable around it. However, one day, Xie brought his dog, Johnson, to the rehearsal space, and Johnson ran towards Tom to greet him. Tom hit Johnson with his paw, causing Johnson to fall to the ground. It was then that everyone noticed Tom's muscular physique despite its pitiful expression. As Xie rushed to rescue Johnson, Tom bit off his shoe. Fortunately, other members of the band were also at the door, and Lianjiang grabbed Tom's leash while Geng Xin used a stick to retrieve my shoe. Tom opened his mouth wide and crunched the stick into pieces, just like a scene from a cartoon. Luckily, everyone, including the dogs, was unharmed. After that day, the band added a word to Tom's sign, changing it to: "Tom is indeed fierce. Friends, please do not approach."

A person suddenly fell from the ceiling during one of our passionate rehearsals in the standard room. Yes, you read that right, a person. The man landed on the floor with a heavy thud but quickly stood up, dusted himself off, muttered an apology, and quickly dashed out. This unexpected event left us all completely dumbfounded.

We decided to film a live performance at the magnificent Huagong building during the summer. We enlisted the help of several friends skilled in photography and videography. After scouting the location, we settled on a platform on the second floor. The performance took place on a sunny weekend afternoon, and we moved all the sound and musical equipment onto the platform. Our photographer friends set up their positions on various rooftops to get the best shots. When the most beautiful sunlight streamed in, the performance kicked off. The audience included some of our friends and elderly folks from the park who were curious to see what was happening. Downstairs, Tom kept peering up to catch a glimpse of the action. After a joyful performance, we fired up the barbecue, cracked open some beers, and mingled with everyone on the platform. However, the next day, we discovered that all the DV tapes from the shoot were missing, and nobody could recall where they had been placed.

In the following spring, a group of gangsters ousted the landlord of the building, leaving us with no other option but to pack up and leave. During our stay there, we had created a number of pieces, but unfortunately, they were all lost along with the DV tapes. "Eighth Layer of Hell" is one of the few remaining pieces we have from that time, and it reminds us of our strange yet authentic experiences in Huagong.

现在的华宫

2020年“十万个为什么”巡演的上海场，谢玉岗临时给这首歌加上了念词。当所有想说的都压在胸口，推敲和润色就完全不需要了。

有意思的是在惘闻平时创作的时候，如果唱或者念词被决定纳入到一首歌的时候，我们总是会寻求一种音色的融合，尽量想把这些人声乐器化，和其他乐器声部保持一种民主化的关系。而在这一现场版“孤独的鸟”中，我们希望念词成为一个独立于其他乐器声部，旁观者般的存在。

During the Shanghai leg of the 2020 "100,000 Whys" tour, Xie Yugang spontaneously added spoken words to this song. When all the thoughts were bottled up inside, there was no need for editing or refinement.

Interestingly, when Wangwen creates music, we strive for a harmonious blend of tones between singing or spoken words and the instrumental parts, aiming to make these voices part of the instrumental tunes. However, for the live performance of "Lonely Bird," we wanted the spoken words to have a separate presence, almost like an observer, rather than being integrated with the other instruments.

在那个还不需要翻墙的时代，第一次在电脑上看到Godspeed You! Black Emperor 乐队的现场视频，临近末尾，伴随着乐器的轰鸣，屏幕上一直闪烁着那个经典的“Hope”字样的胶片镜头。

在大连做Rock Action Club这个地下演出场地的时候，我们在它的地方用丙烯画了一个巨大的跳房子图案，在弧顶的位置，我们喷上了Hope。

有一次在北京看完美国噪音乐队Swans的现场，走出大门的时候我听到一个女孩大声的抱怨：“这音乐太绝望了，没有丝毫的希望。”

还有一次，老谢自己和MONO乐队吉他手Taka自己的个人计划Behind the Shadow Drops巡演最后一场在上海，下午调音的时候我们临时决定在演出的最后两人做一个即兴环节，于是我们定了一个大体的框架。开演前，Taka匆匆找到老谢和他说：“我们得把最后一个和弦改一下，不能让最后的结束这么冷酷，应该留下希望。”

是的，《醉忘川》就是一首关于希望的歌。

In the time before internet restrictions, I stumbled upon a live video of Godspeed You! Black Emperor on my computer. As it neared its end, amid the booming music, the screen kept flashing the iconic "Hope" title.

When we managed the Rock Action Club in Dalian, we painted a large jumping house with the word "Hope" at the top of the walls of the underground venue.

Once, I overheard a girl loudly complaining after an American noise band, Swans' live performance in Beijing, "The music is too bleak, and it is devoid of hope."

During the final show of Xie and Taka's project, Behind the Shadow Drops, held in Shanghai, we added a spontaneous segment featuring just the two of them while completing our sound checks that afternoon. Before the performance, Taka hurried to Xie and suggested, "Let's change the final chord to leave a glimmer of hope instead of ending it on a somber note."

Indeed, "Forgotten River" is a song about hope.

当时 RA Club 墙上我们的涂鸦

clock. The twenty-minute journey to the studio would be filled with tracks from the band, Morphine. The lead singer

s office. Do you want to have a look?" Despite my burning curiosity, I decided to leave the mystique of this rock

clock, Xiao Zhu would pick us up in his beloved Beijing Land Rover at nine o

text-center text-xs text-gray-400 -mt-4 leading-tight

s coastal location, the city

The car's reverse gear is broken and hasn't been fixed yet. Don't worry, we won't need reverse on the way to the airport.

s album "Kellion" at the Echo Library, and it quickly became the soundtrack of my year. When they toured China later on, I regretfully couldn

s remix of "Sweet Home, Go!" It

t until our producer, Wouter, intervened that the song

第八辑

第八层地狱和华宫

Eighth Layer of Hell and Huagong

第九辑

孤独的鸟

第十辑

醉忘川：有关“希望”歌”

Forgotten River: A Song About Hope

​“ 2024是最不寻常的一年，它是惘闻成立的25周年，也是乐队遭遇最大困难和挑战的一年。幸运的是在整个团队的努力和所有伸出援手朋友的帮助下，我们如愿的完成了整个巡演。欢乐与痛苦，幸福和悲伤，以及所有不可言说的情绪都一起蒸发在现场的音乐中，那些个昨日的聚会时刻，我们永生难忘！

因为伤病原因，2024的下半年我们停掉了所有的演出活动，这也让我们有了更多的时间梳理一些创作的思路。告别昨日的聚会，我们期待着在新的一年再次与大家相见。”

——惘闻乐队

回顾惘闻的2024，

每个“昨日的聚会”的难忘瞬间

都还历历在目

这场25周年特别聚会

由一张纯白唱片开启

惘闻带着这张精选唱片

去到了世界更多地方

在每个参与聚会之人的记忆里

都留下了特别的痕迹……

2024 has been the most unusual year—it marks the 25th anniversary of Wang

Wen, but also the year in which the band faced its greatest difficulties

and challenges. Fortunately, with the dedication of our entire team and

the support of all the friends who extended a helping hand, we successfully

along with all the indescribable emotions, evaporated into the live music.

Those moments of gathering in the past—we will never forget them!

Due to health issues, we had to cancel all performances in the second half

of 2024. However, this also gave us more time to refine our creative

ideas. As we bid farewell to yesterday’s gatherings, we eagerly look

Looking back on Wang Wen’s 2024, every unforgettable moment of our "All

Yesterday's Parties" still remains vivid in our minds. This special

25th-anniversary gathering began with a pure white record. With this

carefully curated album in hand, Wang Wen traveled to more places around

the world, leaving a unique mark in the memories of everyone who joined