所有昨日的故事

谢玉岗的笔记本

太空主题单曲《无穹》发行

Space Theme Song “Endless” Releasing

“看不见的城市”

欧洲巡演

香港响朵音乐节

大连双专场

Dalian Special 2-Days Show

大学毕业之后，我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，去爱摇录制我们的第一张专辑。

对石家庄的第一印象是感觉和我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。每天早上乐队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，我依然没有把歌词写完。一大早我蹲在宿舍院子里的旱厕里翻看着自己用来记歌词的小本，二月底石家庄的那天早上，我的屁股被冻的生疼。

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，我终于把最后一个歌《垂死的岁末》的词写在了我的小本上。

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。

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。

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

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

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

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

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。

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

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，但一直到最终正式录制这首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.

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?

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 2020 "One Hundred Thousand Whys" tour in Shanghai, Xie Yugang

spontaneously added spoken word to this song. When everything you want to

Interestingly, when Wangwen creates music, we always seek to blend the

vocals into the music, attempting to instrumentalize the human voice and

maintain a democratic relationship with other instrumental parts. However,

in this live version of "Lonely Bird," we wanted the spoken word to exist

independently of the other instrumental parts, akin to an observer.

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

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

m enamored with Long Arm

每次做完新专辑想尽可能的去更多的地方演出，把新作品传递到更多人的耳朵里。巡演对乐队是另外一种磨练，是一种乐队的集体生活。收获最大的应该是能遇到不同地方不同环境下很多有趣的人，听他们讲述各自的故事以及他们对不同问题的看法。

ensuring that our latest creations resonate with a broader audience. Going on tour is a unique form of practice

for the band, representing a collective journey of musical exploration. The most profound rewards arise from

meeting captivating individuals across different places and diverse environments. Engaging with their unique

stories and viewpoints on various subjects is an enriching experience in itself.

和Pg.Lost的两位成员 Gustav 和 Mattias 在巡演结束时

合影，他们轮流担任这次欧洲巡演的司机

This photo was taken with Gustav and Mattias, the members of Pg.Lost, at the end of the tour.

They took turns serving as drivers for this European tour.

在欧美巡演和国内最大的不同，就是我们需要自己带上设备。这次巡演一开始就完成了貌似“不可能完成的任务”：在狭小的后备箱中装入了二十多个箱子！这次租的车出了些差错，比上次巡演的车小了一号。而且正好是欧洲乐队巡演的旺季，租车公司也没有车可换了。最后经过大家的设计和尝试后，终于成功地把东西都装上了，我们都觉得吃惊。

Different from tour in China, we had to rent our backline in Europe tour.From the very start of the European

tour, we achieved what appeared to be a "mission impossible": packing over twenty boxes into the confined space

of the trunk! Unfortunately, the car we had rented for this journey encountered a setback – it was a size

smaller than the one we used during the previous tour. Moreover, it was peak touring season for European bands,

and the rental company had no available alternatives. Through collaborative planning and persistent efforts, we

managed to successfully load everything onto the car, leaving us all amazed by the outcome.

我们租设备的公司The Swiss Cheese & Chocolate Backline

Backline company we choose The Swiss Cheese & Chocolate Backline Ltd.

从捷克到奥地利的途中，乐队一行人的车因为超重被拦下来。虽然交了罚款，但是警察不允许超重车辆上路。我们和欧洲的乐队聊过这个问题，几乎所有巡演的车都会超重的。以常见的巡演车为例，自重2.7吨，要求总重量不能超过3.5吨，也就是只有八百公斤可以装，一车八个人已经差不多500-600公斤了，加上音箱设备等可想而知。最后我们找工作人员要了一个货车司机的电话，分散了一些行李和人到另一个货车上，这才得以离开。还算幸运，没有耽误当天晚上在维也纳的演出。

During the journey from the Czech Republic to Austria, the band's vehicle was pulled over due to exceeding

weight limits. Though we paid a fine, the police prohibited us from continuing with an overweight vehicle. We

discussed this issue with fellow European bands and discovered that almost all touring vehicles are overweight.

Taking a standard touring vehicle as an example, with a curb weight of 2.7 tons and a maximum allowed weight of

3.5 tons, only about 800 kilograms are left for loading. Considering that eight passengers alone weigh

approximately 500 to 600 kilograms before adding equipment such as speakers, the situation becomes even more

evident. In the end, we managed to obtain the contact information of a truck driver from the staff. By

distributing some of our luggage and people onto another truck, we continued on our way. Fortunately, luck was

on our side, and the incident didn't cause any delays for our performance in Vienna that same evening.

每次去欧洲演出Pg.Lost 的哥们如果有时间都会帮我们的，而且最近吉他手Gustav定居在慕尼黑，所以他帮我们取车取设备都比较方便。但是因为之前他就定好了5月底要去巴塞罗那看Primavera

Sound音乐节，所以中途另一个定居在伦敦的吉他手Mattias就过来接力了。他们真是太仗义啦。

Whenever we perform in Europe, the band members of Pg.Lost always lend us a hand whenever they have the time.

Recently, their guitarist Gustav settled in Munich, making it convenient for him to assist us with picking up

the vehicle and equipment. However, because he had already planned to attend the Primavera Sound music festival

in Barcelona at the end of May, guitarist Mattias, who resides in London, stepped in to help midway. Their

generosity and reliability are truly remarkable.

左图为Gustav，右图最右为Mattias

紧张巡演之余的欢乐时刻

Joyful moment beside the intense tour

欧洲的老场地感觉完全没有变化，我想它和10年前20年前也应该是一样的。所以每次在这种老场地演出，都会有一种穿越的感觉，能想起很多久远的事。场地得以存在时间久远，有部分原因在于音乐场景中“人”持续的活跃。无论是从业者、乐队还是观众，欧中巡演中遇到的人都对音乐本身有着令人敬佩的热情和坚持。巡演到荷兰Haarlem的场地时就遇到了两位爷爷年纪的调音师，在国内很少能见到这样年纪还在一线工作的舞台工作人员。

The old venues in Europe feel like they have not changed a bit. They must be just the same as they were ten or

even 20 years ago. Every time we perform at these historic venues, it's like a walk down memory lane as memories

from the distant past flood back. The enduring existence of these venues is attributed to the continuous

presence of dedicated individuals in the music scene. Whether they are professionals, bands, or audience

members, the people we encounter during our European and Chinese tours exhibit an admirable passion and

unwavering commitment to music. We even had the privilege of meeting two senior sound engineers during our time

in Haarlem, Netherlands. It's a rarity to come across individuals of their age still actively contributing to

the industry in our home country.

历史悠久的德国场地Beatpol

The historic German Venue, Beatpol

国外摇滚音乐这个产业比我们要早很多年，所以它已经常态化了，所以从业的人员会有很大年龄的人，这应该很正常。我想未来如果中国的音乐产业也能良性的一步步踏实的走下去的话，那以后在国内肯定也会有越来越多年纪大经验丰富的从业人员的。

The rock music industry abroad has a significant head start compared to ours, which has led to its normalization. Consequently, it's common to find professionals in the field of advanced age, which is entirely expected. Suppose China's music industry continues on a steady and progressive path. In that case, we can anticipate the emergence of an increasing number of seasoned professionals with years of valuable experience in the field.

调音师小龙和两位加起来有120+的场地调音师合影

A group photo with sound engineer, Deng Chenglong, and two other sound engineers with a combined experience of over 120 years

在欧洲，对一个巡演的乐队来说，食宿是成本中的一大块，所以很多主办方为乐队着想，但凡有条件的场地都会提供给乐队住宿，这样也省去了乐队从场地再去酒店的时间和费用。而且欧洲晚上演出后找地方吃饭不像国内这么方便，所以所有的主办方都会在场地为乐队做饭吃，而且做的都很好吃。不过欧洲演出完了没有夜宵，这点还是中国好，多晚都有吃的。在欧洲演出完，我们会收拾直接装车，然后装上些后台的啤酒回房间喝酒聊天，但因为第二天一般都会起早开车上路，所以也不能让我们的司机朋友熬的太晚。

For a touring band in Europe, lodging and meals make up a substantial portion of the overall expenses. Therefore, many European event organizers go the extra mile to assist the bands. When possible, venues offer accommodation to the bands, saving them the time and cost of traveling to and from hotels. Furthermore, finding a place to dine after evening performances in Europe isn't as straightforward as it is in China. As a result, all event organizers provide meals for the bands at the venues, which are typically quite delicious.

However, unlike in China, there's a notable difference in late-night dining options in Europe. This is where China shines, as there's always something to eat no matter how late it is. After concluding our performances in Europe, we pack up, load our equipment onto the vehicle, and then enjoy some backstage beers in our rooms while engaging in conversation. Nonetheless, given that we typically have early starts and long drives the following day, we try not to keep our driver friends up too late.

可能有很多欧洲乐手都是素食的原因，所以场地一般准备的食物都偏素。整个路程上吃的最多的食物就是土耳其肉夹馍了吧，哈哈，经济又快捷，还有欧洲的啤酒太好喝了。

It's possible that many European musicians are vegetarian, which is why the food offered at venues typically leans towards vegetarian options. One thing we ate a lot during the whole trip was Turkish kebabs—they're economical and quick. And, of course, European beer is delightful.

去音乐节不管作为演出人员或是观众，更多的是一种体验。它和在室内小livehouse的心情完全是不一样的。当你眼睛从舞台上演出的乐队身上掠过，你看到的是蓝的天或者黑夜里的星星。这次欧洲巡演演了Dunk！Festival、Post in Paris和Pelagic Label Night 三个音乐节。

Attending music festivals, whether as a performer or audience member, is primarily about the experience. It offers a distinct vibe compared to small indoor livehouse venues. As you scan the bands on stage, your backdrop is the blue sky or the stars in the night. During our European tour, we had the privilege of performing at three music festivals: Dunk! Festival, Post in Paris, and Pelagic Label Night.

不管是去演出的乐队还是去看演出的观众，大家看起来完全是融在一起的。欧洲演出极少有人拿着手机拍摄，大家都比较专注。另外观众的年龄范围也比较大，很多中老年人也都会来看现场。我印象比较深的是最后一场在汉堡演出后，一个60多岁的观众过来和我聊天，他英文不太好，但我差不多听明白了，他说他和他妻子已经在汉堡这个场地看了我们三次演出了。这感觉对我来说很棒。

Whether it's the bands performing or the audience in attendance, everyone seamlessly merges together. In European concerts, it's uncommon to see people constantly using their phones to take pictures; instead, there's a heightened sense of focus on the live experience. Moreover, the audience's age range is quite diverse, with many middle-aged and even elderly individuals coming to enjoy live shows. One particularly memorable experience was after our last performance in Hamburg when a man in his 60s approached me for a chat. Although his English wasn't perfect, I could understand most of what he said. He mentioned that he and his wife had attended our shows at this Hamburg venue three times. This was a genuinely heartwarming moment for me.

2015年第一次去Dunk！的时候好像会有一些紧张，这次就很放松，所以感觉演出状态也比第一次好。

I was a little nervous when I first went to Dunk! in 2015. However, I felt much more relaxed this time, which improved my performance compared to the first time.

我们参加的2015年和2019年Dunk!海报

Dunk!音乐节上还见到了为惘闻绘制最新T恤的Error!Deisgn插画师Xavi

At the Dunk! Music Festival, we also met Xavi,

the illustrator from Error! Design who created the latest T-shirt design for Wang Wen

Dunk!音乐节的周边帐篷

The merch site in Dunk! Festival

在Dunk!还见到了我们的制作人Wouter

Meet our album producer Wouter in Dunk! Festival

惘闻和Dunk! Festival的发起人。他们一家人办了这个音乐节。

We and the founder of Dunk! Festival. He and family hold this fest for more than 10 years.

Pelagic Label Night是每年我们欧洲厂牌Pelagic Records做的一个展演。都是厂牌下面的乐队演出，同时也会邀请一些主办方和媒体来看，它更像一个Home Party，很亲切。这次厂牌主理人第一个喝大走了……Post in Paris很有意思，所选的场地是在一艘船上。那么多乐队的演出，主办方依然控制的井井有序，很棒。

Pelagic Label Night is an annual event organized by our European record label, Pelagic Records. It showcases bands signed to the label and invites event organizers and media to attend, creating a warm and intimate atmosphere akin to a Home Party. This time, even the label's founder got a bit too merry... As for Post in Paris, it was fascinating because they chose a venue on a ship. Despite hosting multiple bands, the organizers maintained a well-structured and impressive event.

这次巡演途中印象深刻的共演音乐人有三组：Bombino和K-X-P，这两个乐队太棒了。Bombino去年好像来过中国巡演，吉他手太厉害了，人琴合一那种，看他的现场非常享受。K-X-P是芬兰的双人乐队，现场的氛围营造得太出色了，dark side of Chemical Brothers, 哈哈。

During this tour, I was particularly impressed by three co-performing musicians, including Bombino and K-X-P, both exceptional bands. Bombino, who I believe toured China last year, has an incredibly skilled guitarist who seamlessly blends with the music, creating an enjoyable live experience. K-X-P, a Finnish duo, managed to craft a fantastic live atmosphere, somewhat reminiscent of the dark side of the Chemical Brothers.

之前听了几遍Godspeed You! Black Emperor乐队吉他手Efrim的个人唱片，并不是特别能进去。直到那天看Dunk!现场，完全被震撼了，超级感动！不论是从技术控制还是情绪表达上，都是完美的，让我从开始的半场区一直走到了第一排。

I had listened to Godspeed You! Black Emperor guitarist Efrim's solo albums a few times before, but I did not feel a strong connection with them. However, when I saw him perform live at Dunk!, I was utterly amazed and deeply touched! His performance was flawless in terms of both technical skill and emotional expression. It was so powerful that I went from standing in the middle of the crowd to making my way to the front row.

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s common to find professionals in the field of advanced age, which is entirely expected. Suppose China

s uncommon to see people constantly using their phones to take pictures; instead, there

在结束了“看不见的城市”欧洲巡演后，我们又在7月前往香港参加了响朵音乐节和论坛。“响朵”是由抢耳博览（Ear Hub）主办的独立音乐产业交流活动，包括showcase演出、产业论坛和网络活动。通常会邀请100多组海内外音乐人参与音乐节演出，旨在以香港为中心、连结全球音乐人才和产业从业者。

After wrapping up our "Invisible City" European tour, we traveled to Hong Kong in July to participate in the Ear Hub Festival and Forum. The festival is an independent music industry event organized by Ear Hub, which includes showcase performances, industry forums, and online activities. It typically invites more than 100 music acts from around the world to participate in the festival, to use Hong Kong as a central hub to connect musicians and industry professionals globally.

每年在家乡大连举办双专场演出，是惘闻乐队一贯的坚持。2019年的这次双专场，我们第一次以“完整概念”的企划让这次家乡聚会变得更具沉浸感：围绕主题拍摄制作了7集“Seaside Video系列”短视频、策划撰写“Unknow

Wen”系列文章，同时制作环保纸袋发、卫衣等限定周边，还以惘闻音乐为灵感制作了主题鸡尾酒带到现场。通过前期一系列视觉联系，加深了惘闻的音乐与大连这座城市、大海之间的联结，持续提升期待感，希望能带给能够被大家所怀念的现场。

Every year, our band holds a 2-days special show in our hometown of Dalian, a consistent tradition. In the 2019

edition of this double special event, we took things up a notch with a complete concept plan to make this

hometown gathering even more immersive. The band produced a 7-episode "Seaside Video Series," curated and

authored a series of articles titled "Unknown to Wang Wen," and created environmentally friendly items like

paper bags and hoodies as limited merchandise. We also crafted theme cocktails inspired by Wang Wen's music for

the event. These pre-event visual elements strengthened the connection between Wang Wen's music, the city of

Dalian, and the sea, building anticipation for the event. We hoped to deliver a live experience that would be

惘闻 Seaside Video合集

Wang Wen Seaside Video Collection

海，对于来自大连的我们而言，是灵感，更是伙伴。

The sea, for us who hailed from Dalian, serves as both a wellspring of inspiration and a steadfast companion.

她和大连的那些岁月一起，塑造出惘闻被你们听到的模样。

Over the years we spent in Dalian, the sea has played a pivotal role in shaping Wang Wen into the sound you hear

在我们调音师小龙的策划下，我们在大连就地取景，拍摄了一个Seaside

Video系列的6支音乐Live短片。其中包括《大连，勿语》、《破晓》、《黄泉水》、两首即兴和一首未命名新歌。出现在视频中的有黑石礁附近的海滩，也有废弃的高塔，夕阳余晖反射在海面波光粼粼……现在看来也很令人怀念，我们也很喜欢最后的呈现效果。

With the guidance of our sound engineer, Deng Chenglong, we filmed a series of six live music short films titled

"Seaside Video" in Dalian, using local settings. This series includes performances of songs such as "Silenced

Dalian," "Daybreak," "Netherworld Water," two improvisations, and an untitled new piece. The videos feature

various scenes, including a beach near the Black Stone Reef and abandoned towers, with the beautiful sunset

reflecting on the sparkling sea surface. Looking back, these moments evoke a sense of nostalgia, and we are

delighted with the final results.

分享一些拍摄花絮。当时我们租了两台眼灯，用非常少的设备、最简单的方式完成了这次拍摄（感谢天公作美）。我们的全能调音师小龙变成了导演小龙，他来掌镜、拍摄、剪辑、混音了系列视频。很庆幸我们捕捉到了这样难得的状态，那些音乐和自然真正融在一起的时刻。

Here are some behind-the-scenes photos. We rented two camera lights during the shoot and managed to complete the

filming with minimal equipment, thanks to favorable weather conditions. Our multi-talented sound engineer, Deng

Chenglong, assumed the role of Director, handling everything from camera work to shooting, editing, and audio

mixing for the video series. We're grateful that we captured these precious moments when music and nature

seamlessly came together.

海边落日真的很美。

The seaside sunset is truly beautiful.

这是我们第一次从第一张专辑开始梳理乐队历史，甚至有很多回忆用到了这个网站的筹备过程中。偶尔在适合的时候停下来，回望一下走来的路，也不错。

This was the first time we comprehensively reflected on the band's history, starting from our first album. We

even incorporated many memories from the process of preparing this website. Taking occasional moments to pause

and reflect on our path is also quite rewarding.

做大连特调的想法也很偶然：我们在朋友圈看到以惘闻最新单曲「无穹」为主题的特调鸡尾酒，看上去与「无穹」单曲封面“燃烧的星球”意象一脉相承，从创意到口感都令人惊喜，这杯特调的创作者正是调酒师江北。

The idea of crafting a Dalian specialty cocktail happened quite unexpectedly. We spotted a cocktail on social

media inspired by our latest single, "Endless". It seemed to carry the same theme as the single cover, featuring

the image of a "Burning Planet." The cocktail impressed us both in terms of creativity and taste. It was created

by a bartender called Jiangbei.

“惘闻的音乐给我的印象比较深刻，常在忙碌过后的时间里，戴上耳机，沉静地去聆听。我也在惘闻的音乐作品中获得许多酒水创作的元素，因此才能够有这些独特鸡尾酒。它们不仅蕴含我对惘闻作品本身的喜爱，也是我解读音乐的一种形式：从酒的颜色、口感、基酒的选用和外在形式等萃取聆听时的意识碎片，慢慢形成了这些特调。”

调酒师 江北

Wang Wen's music has made a lasting impression on me. I often find myself donning headphones and quietly

listening to their music, especially during moments of respite from a busy schedule. Wang Wen's music

inspired me to craft these unique cocktails. These cocktails reflect my appreciation for Wang Wen's work and

represent my interpretation of the music. It involves extracting fragments of awareness while listening,

such as the drink's color, texture, choice of base spirits, and presentation. Over time, these elements have

come together to create these special concoctions."

惘闻流动的器乐摇滚总能带给人无限想象空间，「Lonely

God」、「焦虑抑制剂」、「无穹」等等充满寓意的歌名也是乐迷津津乐道的话题。再加我们自己也喜欢喝酒，为何不在大连家乡演出时来点特别的“招待”？这些让我们萌生了在大连双专场时呈现一系列“惘闻限定特调”的念头。音乐和调酒是不同领域的“创作”，用一种灵感点燃另一种灵感，如果惘闻的音乐能带来想象，这是值得珍惜的缘分

Wang Wen's instrumental rock music has always had the power to ignite limitless imagination. Song titles like

"Lonely God," "Inhibitor for Anxiety Disorder," "Endless," and more, filled with meaningful themes, are often

topics of discussion among fans. Since we also enjoy drinking, we thought, why not offer something special as a

"treat" during our hometown performances in Dalian? These ideas led us to create a "Wang Wen Exclusive Specialty

Cocktails" series for our Dalian twin showcase. Music and mixology are different forms of "creation," but one

can inspire the other. If Wang Wen's music can spark imagination, it's a connection we value greatly.

大连和海与惘闻乐队有着不可分割的联系，成为一部分惘闻被听到的模样，这是本季大连专场两款限定周边的灵感来源：肆意延伸的抽象线条代表了“海”的自由，而“城市”则是双专场海报固定的主题。除了环保纸袋和连帽卫衣之外，我们也为这次双专场定制了可以作为书签纪念的门票。

Dalian and the sea are integral to Wang Wen's identity, influencing the essence of their music. This season, two

limited-edition merchandise items for the Dalian special shows draw inspiration from this connection: the

abstract lines represent the "freedom" of the sea, while "city" is a recurring theme in the double unique show

posters. Alongside eco-friendly paper bags and hoodies, we've also created special tickets for these shows that

▷ 创意纸袋

蓝色海洋款和紫色城市款

均使用特种纸制作，防水耐磨，环保实用

Available in Blue and Purple City Style

Made from specialty paper, these bags are waterproof, long-lasting, and eco-friendly.

▷ 连帽卫衣

黑蓝两色入，柔软舒适

背面有“惘闻大连”精致刺绣

Made of a soft and comfortable material, available in blue and black

s music for the event. These pre-event visual elements strengthened the connection between Wang Wen

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s work and represent my interpretation of the music. It involves extracting fragments of awareness while listening, such as the drink

during our hometown performances in Dalian? These ideas led us to create a

series for our Dalian twin showcase. Music and mixology are different forms of

“大连是流动的”主题周边

“Fluid Dalian” Theme Merchandise

《挑战吧！太空》是一档讲述人类在未来离开地球、开启在火星生存的节目。在节目组邀请下，我们创作了《无穹》作为节目主题曲。这也是惘闻第一次以整体乐队形式进行一个有明确主题的音乐创作。

关于外太空，关于我们生活的地球之外的世界，始终是人类执迷于去发现和探索的领域。在人类的历史中，我们如痴人般不断思考着我们是谁，到底从哪里来又要到哪里去的这个人类哲学第一命题。那对于整个宇宙的畅想更是一刻都没有停止过。所以当刚开始接触到《挑战吧！太空》这个节目的主曲创作的时候，我很兴奋但同时也感到有些无从下手。于是乐队的每个人都分头去准备了一些自己根据这一命题而创作的动机和想法。当我们把这些素材汇集在一起的时候，我的聆听感觉是这些素材更多的都是指向了关于摆脱束缚和突破现有极限的情绪和话题。所以乐队据此找到了一个切入点。我们将整个的主曲做成了一个两段式的结构，第一段对我来说更像是描绘了一幅想象中的飘渺未知的外太空景象，它既荒凉也优美。第二段更像是在一片荒凉之中重新一点一滴的构建和向外突破。在配器上，我们加入了一个小编制的弦乐团和合唱团，试图放大一种不同人把力量汇聚在一起共同发力的状态，所以最后的混音制作，我们也是把它交给了远在瑞典的制作人Kristian, 他同样对这一命题的音乐非常感兴趣，所以在最终的混音中他也加入了他的想法，并配合著合唱团加入了他标志性的高音吟唱。当最终的母带在瑞典由母带师Magnus完成并通过因特网传给我再次聆听的时候，我非常感动，不同于之前所做的任何配乐，它汇集了那么多人的想法和劳动，这就像今天我们的宇航员能离开地球，迈出一下步进入外太空一样，背后是无数人工作研究和探索的结果。​

The reality show“Space Challenge” tells a story about humankind leave from Earth to Mars for living in future. We are invited to composed "Endless" as theme song of the show.

《无穹》发行了10寸单曲彩胶，也首次尝试了制作创意周边产品——流沙画。

We released a 10' colored vinyl of "Endless" single and designed creative merchandise, quicksand painting for the first time.

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