热腾腾的John专访啊！潜水这麽久的John终於稍微探出头了！ 这次告示牌针对John近几年来的曲风转变， 离团的源起，以及未来的打算做了报导。 不少乐迷看了觉得有些伤感，因为John显然不想重作冯妇。 http://0rz.tw/aJ7wb 原文与大意简单提示如下 John Frusciante Q&A: On His Electronic Evolution and Why He's Done With Rock Bands By Patrick Flanary In an exclusive interview, Frusciante talks about his new EP of abstract electronic music, why he left the Chili Peppers and the "funnest musical collaboration I've ever had with anybody in my life" 独家专访JF关於他的新单曲，他为何提开红椒， 以及"我这辈子觉得最有趣的音乐合作" Guitarist John Frusciante, absent from the stage since quitting Red Hot Chili Peppers five years ago, has since adopted drum machines, synthesizers and a computer as his main instruments. JF身为一名吉他手，离开红椒後，已经有五年未曾出现在舞台上。 如今他已经对各式合成器以及电脑特效十分上手。 Today his creations are confined to his living room, where Frusciante experiments with and engineers what he calls Progressive Synth Pop. "Outsides," a 20-minute EP of abstract electronic music due Aug. 27, consists of self-described "out" pieces that underscore a departure from traditional rock and public expectation. "I needed to specifically make music that I know wouldn’t sell in order to learn things," Frusciante told Billboard during an exclusive, hour-long telephone conversation in late July. "And I’m gonna keep doing that for the rest of my life." JF的最新合成流行乐单曲"Outsides"是在自家的客厅中完成的。 他表示，他需要特地去做一种，不用透过销售而去学习的音乐， 而接下来的人生，他会持续这样做下去。 Frusciante explained his years of education and growth as a solo musician since leaving the band dynamic—and why he’ll never go back. "When it comes down to it I probably have a lot more in common with old classical composers from the 1700s than I do with the rock stars of today," he said. "I don't even think of the guitar in the same way anymore. I’ve learned to think more like a pianist, where I have a wider view of music." That view has recently opened another door for Frusciante, as album producer for the Wu-Tang Clan-affiliated hip-hop group Black Knights. Their first collaboration, "The Medieval Chamber," will release on indie label Record Collection in December. These are excerpts from the interview: Billboard: "Outsides" begins with a song that includes a 10-minute guitar solo. Is that the longest solo on record that you know of? "Outsides"这张单曲以一首长达十分钟的吉他solo开始， 这是你所知最长的solo吗？ John Frusciante: Oh, no, no. Frank Zappa took quite a few extended solos around that length. Yeah, and Jimi Hendrix also did. If you listen to live recordings of Jimi Hendrix, a song like "Machine Gun" usually has a 10-minute solo quite often. 当然不是！Frank Zappa、Jimi Hendrix都有做过，十分钟长的solo其实蛮普遍的。 Do guitar solos require any sort of structure, or even practice? 做一段吉他solo需要特定的结构，或是练习吗？ Especially in the case of this one, it reflects the music, you know? I mean, any guitar solo should reflect the music that it’s soloing over and not just be existing in its own sort of little world. But that’s what a lot of people who in the Seventies played extended solos, they would just kind of get lost in their own world, and so they became what I would consider to be a kind of a lazy area for guitar players. But in this one it’s reflective of the song, which is something that Frank Zappa wasn’t doing with his extended solos, because he would depart from the song and have a very simple section that he could easily solo over without having to think about too much other than his own playing. And I’ve studied these solos my whole life, I love them, but I see the difference between them and a song. I think a solo moves forward the way a song does, because it’s reflective of the chords that I’m considering as I’m soloing, and at the same time I’m going as much out on a limb as Frank Zappa used to, in terms of just going crazy on the instrument. 这次这段需要，因为它反映了音乐本身。我想说的是，任何solo都该反映音乐， 而不该只是独自窝在象牙塔。但七零年代许多人创作的加长solo却都是如此， 在我感觉这样是有点懒惰的行为。 但这次这首solo则与歌曲相互辉映，这是Frank Zappa在他的加长solo所没有的。 因为他会跳脱出歌曲本身，加入一个可以轻易solo的简单段落， 而不去思考是否适切。我研究这些solo太久了，我爱他们， 但我可以分辨其中的不同。我认为solo应该是歌曲行进的延伸， 当我在solo时我所想的就是要与那些和弦辉映。 Yet you’ve taken on additional instruments, and you also record your music at home. 你挑战不少额外的乐器，你是在自家录制你的音乐吗？ For me, living and making music, they’re one thing. It’s not like a job that I go to a studio to do, or a chore that I have to get myself in the mood to do, or something. It’s the thing that I need to do every day. I got good advice from a manager a long time ago, suggesting that instead of spending money on recording budgets that I get my own studio. And he sure was right. [...] Progressive rock was a style of music that began with The Beatles, where they started incorporating aspects of jazz and aspects of classical music and aspects of music from other cultures into rock music, and it became apparent that rock music was a malleable form of music, like on the second side of “Abbey Road,” where every song is connected to the next one. And bands like Genesis and King Crimson and Yes were basically, for me, carrying on what The Beatles had started, by challenging tradition, basically, and challenging the general way that things were done. So I really admired what those bands did my whole life, and that really wasn’t a part of what I did when I was in the band. We didn’t do 15-minute songs or stray away from traditional formulas too much. And synthpop for me is just rock music made with synthesizers and drum machines. Really, my instrument now is the entire mix of instruments. 对我而言，活在音乐与做音乐是同一件事。它不是我必须要去录音室完成的工作， 或是必须反映我的心情的和弦等等。这是我每天都会做的事。 一个经理人过去就建议我，与其把钱花在录音预算上，不如弄个自己的录音室。 而他是对的。 披头四开启的摇滚乐的革命开端，他们在摇滚中融合了各种音乐类型， 让摇滚乐的成为一种可塑性极大的音乐类型。 他们挑战传统、常理与常规对此我十分崇敬，但我在乐团中时却无法如此做。 我们没办法做一首15分钟长的歌，或是偏离固定准则太远。 合成流行乐(synthpop)对我而言就是用合成器创作的摇滚乐。 真的，我现在使用的乐器就是一堆乐器的混合体。 You play so many. Have any ever intimidated you? 你做音乐做了这麽久，你曾经感受到恐惧过吗？ I bought a clarinet, and I wanted to learn how to play that but it interfered with my singing. And I think there would be a time period if I learned it where it would make my throat tense, at least briefly, until I learned how to breathe properly. So yeah, I’ve had this clarinet sitting around for, like, a year and haven’t learned it. You know, that’s the beauty of the technology of sampling: You can play any instrument or any combination of instruments. You basically have the history of recorded music to play as your instrument. And I’m pretty adept at that. So there’s really no need to learn how to play other instruments since I can do that. 我买了一只单簧管，我想学怎麽吹，但这又会干扰我唱歌。 而我想应该会有一段时间，在我学吹单簧管的时候会让我的喉咙紧缩， 直到我学会怎麽换气呼吸。 所以，是的，我买了这支单簧管一年了，还是没学会。 所以你知道，这就是'样本科技(?)美妙的地方： 你可以演奏各种乐器，或是乐器的合体。 而你又拥有创作音乐的基础。我就挺能上手的。 所以也就没必要再去学其他乐器，既然我已经可以创造出它。 How does selling your music through a platform like Topspin differ from having the backing of major labels and distributors? 在独立的平台上销售你的音乐，与附属在一个大型唱片公司之下之间有何不同？ In this environment of music and the way that it’s being consumed today, I think we’re seeing the ill effects of business-minded thinking being applied to artists, and artists learning to think more like businessmen and more like celebrities than musicians. So luckily I removed myself from that world, and every day for the last five years or so I’ve thought specifically about new places to go and finding new challenges for myself. And part of that meant that I spent about three years making music that I had absolutely no intention to release. [...] These have been the most helpful things to my music growth. When you get in a band, especially a band that’s popular, you don’t even realize that you’re doing it because it’s so natural to do, but you basically stick to proven formulas and things that have proven themselves able to sell to people. And by doing that very little growth takes place over a period of years. Whereas I feel like a completely different musician now than I was five years ago, with a completely different range of things that I can do and things that I’m good at. There would be no chance to get good at those kind of things in the environment that I was in as a popular rock musician, in this day and age. 现在的音乐环境逐渐萧条，我想我们正经历商业行为的恶果， 艺术家们现在更像生意人与名流而非音乐人。 所以我很幸运离开了这个环境，并且在新的领域发掘新的挑战。 我之前花了三年做音乐，但我一点也不想发行。如此确实帮助了我的音乐成长。 当你在一个相当受欢迎的乐团中，你不会觉得自己的创作目的有问题， 因为在那个氛围下是很自然的， 但基本上你还是陷入在一个重复验证可以让唱片大卖的惯例里。 数年下来，你所能成长与突破的空间是有限的。 因此我觉得我现在是完全不一样的音乐人，有了全新的视野， 我可以做不同的事，我也十分熟手。 这是在我身为一个热门摇滚乐手时所做不到的。 When did it hit you that you were no longer flourishing creatively within the band dynamic? 你什麽时候开始觉得乐团的活力无法再促进你的创造力了？ Well, as I said, I had always wanted to do electronic music and I had only dabbled in it throughout the 10 years or whatever it was that I was in the band after rejoining [in 1998]. And it’s one of those things like anything else that you have to do it every day for years to get good at it. And so it was always something that I wanted to do but we were so well-received as a band that it didn’t really occur to me to quit until Flea came to me at one point and said, “I want to take a two-year break after this tour.” And he said that to me about halfway through the [2007 “Stadium Arcadium”] tour, and when he said it I was kind of shocked, 'cause I thought we were on a roll, let’s just keep moving with this, you know? But once he said it to me, my mind started thinking, "What would I do with that two years if I had two years to just do whatever I wanted?" And by about four months later I was so excited about quitting the band I didn’t even want it to be a two-year thing anymore. I just knew that I didn’t ever want to be in the band again, you know? And I didn’t actually quit until several months after we were already on the break, but I knew I wanted to quit months before the tour was over. I was determined to. Because there were so many electronic musicians who I loved what they did, and I knew that musically I had grasped an understanding of it from learning it on my guitar. 就像我所说的，我一直很想做电子音乐，在我重回乐团前，我只短暂的接触了十年。 这是我唯一想要每天都做，而且要让自己在其精进的事情之一。 这是我一直想要去做的事，但我们实在太受欢迎， 其实我还没真的想到要辞职，直到Flea有一天对我说： "我想在SA巡回结束後休息两年。" 我当下其实有吃惊，因为我们还在巡回耶，至少等我们演出完吧！？你知道的。 (编按：哈哈，这段很可爱。因为在John第一次离团时，当时红椒正在日本巡回， 而Flea就曾提到当他听到John这样说时， 他只觉得"这小子搞什麽？我们正在巡回耶！" XD) 但经他这麽一提，我就开始思考： "如果我有两年的假期，我就可以全心去做我想做的事了？" 大概四个月後，我就想着要辞职了，我不要那只是两年的事情而已， 我开始明白我不想再继续创作乐团音乐。 但我当时并没有真的辞去，直到数个月後我们结束全部的巡回。 (编按：这段也很感人，因为John第一次中离时，可是说不干就立刻闪人了XD 长大了呢！Johnny boy) But I also knew that until I learned how to program the old machines that Roland made from the early Eighties that I wasn’t going to be able to actually create the music involving the musical principles that were inherent in what those people were doing. So in the middle of that tour I got a TB-303 machine and carried that around from hotel room to hotel room, and I got a TR-606 drum machine and I carried that from hotel room to hotel room. It was a whole new way of thinking, it was a whole new way of creating music, and it was like going to music school in a lot of ways because it caused me to start considering music from a completely different angle. Which for a long time, I guess for about a year, was a strain in various ways, but as soon as I became comfortable, once the tour was over, I started setting it up where I could program a bunch of machines all at once. It didn’t at all at that point have the complexity of what I could do, say, with a guitar or what I could do with other people. I didn’t care. I was happy to do the simplest little Acid track and just be able to play with the knobs on the machine. I was just so happy to be doing something that had no connection to the habits that I’d gotten into as a rock guitar player. 当时我就弄了TB-303跟TR-606鼓合成器带着巡回，这是全新的创作方式， 这跟上音乐学校很像，它让我重新思考并且以不同的角度看待音乐。 但这之间的磨合至少花了一年，就刚好在巡回结束後，我终於上手了。 於是我就开始一口气做了很多作品。 我当时不在乎我该做什麽或是表达什麽，或是要怎麽跟别人合作。 我很开心可以随意做一些简单的迷幻曲调。 我真的很享受去做这些跳脱过去我身为摇滚吉他手的习惯与舒适圈的事情。 Would you consider performing your new music, even for a small crowd? 你会考虑现场演出你的新作品吗？就算是一小群人也好？ No, I have no interest in playing live. I really don’t think of myself as a performer anymore. It was never something that came naturally to me. It was something that I adapted to, but it was never really an expression of who I was. [...] I’m not a performer. I don’t appreciate the effect that audiences have on me, because for me music is something that comes from inside of me. And music is something that I immerse myself in, and when I’m in front of an audience, I can’t ignore my surroundings and I can’t ignore the way they make me feel. They make me feel good, the audiences. But then I find that I’m not so much reaching inside myself to create something, but I’ m more trying to meet with their expectations. And I’m trying to do something that’s entertaining to them. And that’s just not me. I’m not interested in meeting people’s expectations and I’m not interested in pleasing people. 不会，我不想做现场演出。我不再视自己为一个表演者了。 这对我来说一向都不太自然，这是我需要去适应与调适的事情， 这从来就不是我的诠释方式之一。 我不是一个表演家，我也不想念那些观众带给我的影响， 因为音乐是一种发自我体内的东西。是我想要沉浸其中的东西。 而当我站在观众面前时，我无法忽视周遭的氛围，我也无法忽略他们带给我的感受。 他们确实让我感觉很棒，我就会越想去迎合他们的期望，去娱乐他们， 这样却让我离我体内自己越来越远。 这样不是我，所以我不想再迎合众人的期盼，也不想再去取悦别人。 (编按：不少乐迷似乎就是对这段觉得很伤感。 因为John已经对演出、对观众不再感兴趣。 但，John一直都是这样的人啊，不是吗XD 或许是会觉得遗憾，但这是意料之中吧。 John提到，音乐对他而言是发自他体内的东西，是一种， 应该说有点私人的自我探索的过程。 但是观众的存在却会干扰这个仪式。) I’m glad I did it successfully for so long, but when it comes down to it I probably have a lot more in common with old classical composers from the 1700s than I do with the rock stars of today, you know? I think more in terms of creating a full composition, and that’s really what makes me happy to be alive and excited to live every day, is the ability to create from scratch an entire piece of music. I’m more comfortable doing that than I ever was doing anything. It makes me happier than playing the guitar did. And so, entertaining people, I just don’t think it’s my bag, you know? 我很高兴这麽多年来我成功地做到这件事， 但我现在只用合成器创作而非当一个摇滚巨星。 我想现在的创作更让我觉得活着真好，并且兴奋地迎接每一天。 现在带给我的快乐远多过於弹吉他。 所以娱乐观众实在不在我的考虑之中了。 What other music will you make this year? 接下来这一年你打算制作什麽样的音乐？ For the last six months, I only make hip-hop now. But it’s been a year that I’ve been working with these artists called Black Knights. And we’ve had a really successful collaboration. [...] Due to technology, we have a musical relationship in which nobody tells anybody what to do, nobody restricts anybody, nobody argues with anybody. 接下来六个月我会专心做嘻哈。但其实已经跟Black Knights合作一年了。 My job is making the music, their job is rapping, and we don’t get in each other’s way at all. We all want to hear the same record, is how I think of it. [...] I wouldn’t be any happier if I had, like, Ice Cube or Ol’ Dirty Bastard. I love their raps as much as I love any of the rapping on old records that I love. It’s the music that I want to hear, and I can go in any direction that I want with it. The rules of hip-hop are really pleasing for me and they allow me to be completely free. 我负责音乐，他们就负责饶舌，我们不会打乱彼此。我们有相同的创作方向。 如果之後可以跟Ice Cube、Ol’ Dirty Bastard合作就更开心了！ 我喜欢他们的饶舌歌，就像我喜欢那些经典的饶舌专辑一样。 这是我想听的音乐，我可以从任何面向切入。 嘻哈的原则很适用於我，它们让我有完全的自由。 Hip-hop, like rock music, it can absorb any style. And I think it can do so even better than rock music can. And so I can make it synthpop, I can make it totally abstract and weird stuff, I can make it purely sound with no melody, I can make it rock, I can make it whatever I want. It’s the form of music where I can be completely free. My main interest is in polyrhythms and grooves and sound. And that’s another reason I would never be in a rock band. Because in a rock band you have to attend to pitch and rhythm. But in these modern times with musical technology being what it is, we have the gift of being able to attend to sound and the details of rhythm. 嘻哈就像摇滚乐，他可以融合许多音乐类型，但我认为它所能做的远比摇滚乐更多。 我可以做成合成式流行风，也可以搞怪，甚至也可以完全没有旋律，也能摇滚， 我能随我所欲。这是让我感觉到全然自由的曲风。 我专注在多旋律、节奏与声音上，这就是我为什麽不会再重回摇滚乐团的原因。 因为在摇滚乐团中，你必须处理音调与节拍。 但在这个时代，拥有这些音乐科技，我们就可以掌握更细节的部分。 When you’re in a band you tell the drummer, “I want this kind of beat,” or something. But with technology I can actually make exactly the beat that I want to make, that grooves and slows down and speeds up exactly how I want it to, exactly conforming to my imagination, not just like a sort of a copy of my imagination or an interpretation of my imagination. It’s actually what I’m hearing in my head is what’s coming out the speakers. So making hip-hop, this is like the funnest musical collaboration I’ve ever had with anybody in my life. And it’s the purest. 在一个乐团中，你只能告诉鼓手："我想要这样的节拍" 但是现在我可以自己就做到我想要的节拍，各种细节都如我所愿， 而不是对我想像的模仿或转译。 我可以把我脑中的声音透过喇叭呈现出来。 所以创作嘻哈是我这一生中最有趣的音乐合作模式，也是最纯粹的。 --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 61.219.91.55 ※ 编辑: nosweating 来自: 61.219.91.55 (08/21 07:27) ※ 编辑: nosweating 来自: 27.147.47.152 (11/04 10:52)