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噪音 Noise

就像这种音乐名字所启示的那样,噪音是泥泞的,生硬粗暴的,使人精疲力竭的。它为了开拓声波的攻击性,几乎完全摈弃了旋律和作曲技巧。从来自日本的Merzbow震耳欲聋,牙齿霍霍的攻击,到Amphetamine Reptile厂牌下乐队Tar 和Vertigo厚重,碾压式的紧张感,这是一种黑暗和残忍的音乐,将摇滚乐推向最远的极致。到了90年代末,50年代具象音乐中开创的正弦波死灰复燃,大批音乐家采用这种元素进行创作,比如大友良英。

Sludgy, abrasive, and punishing, Noise is everything its name promises, expanding on the music's capacity for sonic assault while almost entirely rejecting the role of melody and songcraft. From the ear-splitting, teeth-rattling attack of Japan's Merzbow to the thick, grinding intensity of Amphetamine Reptile-label bands like Tar and Vertigo, it's dark, brutal music that pushes rock to its furthest extremes. By the end of the '90s, a resurgence in the use of sine waves -- originally explored by musique concrète artists in the '50s -- became increasingly frequent among noise artists such as Otomo Yoshihide.



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