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无浪潮 No Wave

No Wave很短命,是70年代Punk音乐的一个先锋性的分支,几乎全部来源于1978到1982的New York市东部地下音乐。就象Post-Punk是以英国为中心起源的一样,No Wave则是起源于较具艺术性的Punk--但是正当英国的Post-Punk已经剧减降温并且绝望之际,No Wave却仍然在经历其刺耳,磨砺和攻城占地的阶段。大部分No Wave乐队都拥有使人神魂颠倒的可以由电吉它制造出来的纯噪音,这也是No Wave乐队音乐的重要组成部分(时常极为集中)。不象Punk那样,旋律就象乐器的技术一样不重要,大部分的No Wave音乐家人都喜欢集中他们所有的精力去制造一些无调的,不和谐的喧闹(却还算节奏感十足)。由于其喜好武力的艺术形式和戏剧性的焦虑,No Wave应该更加象一种表演艺术而非音乐。两个No Wave的中心象征:主音和吉它演奏者Lydia Lunch以及萨克斯管吹奏者James Chance,他们都在Teenage Jesus和The Jerks进行表演;Lunch进行了漫长的单飞表演生涯,而Chance则创新的开拓了No Wave和Punk的混合乐队--名叫The Contortions。而No Wave的标志性专辑应该是1978年Brian Eno录制的,而其实质的特点则来源于Chance和The Contortions, Teenage Jesus, DNA (以先锋派吉它手Arto Lindsay为象征), 和Mars。虽然没有任何No Wave艺术家们真正想过要打动更多的听众(Lunchs很多产,协作性的重型Solo让她极为接近他们),Sonic Youth通过吉它艺术家和先锋派作曲家Glenn Branca的保证了No Wave扭曲的不和谐音能够进行更加深思熟虑的噪音实验,并成功在音乐里加进更多的旋律结构而成为了地下音乐的传奇。

No wave was an underground music, super 8 film, performance art, video art, and contemporary art scene that had its beginnings during the late 1970s through the mid-1980s in downtown New York City when the city was a wasteland of cheap rent and cheap drugs. The term "no wave" is in part a punk subculture satirical wordplay rejecting commercial elements in general, that was based in the specific rejection of the then-popular new wave genre. No wave music was a reaction against new wave acts, like Talking Heads, signing with record labels, and the use of Chuck Berry guitar riffs commonly used by new wave music groups in the late 1970s. The term became used in downtown New York City concurrent with the 1981 show, "New York/New Wave" that had been curated by the artist/curator Diego Cortez. The movement would last a relatively short time but profoundly influence the development of independent film, fashion and visual art.



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