Music for An Exhibition
by P.K.14
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Digital Album
Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
1. |
Kim
19:15
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那是我听过的最美丽的谎言
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2. |
Zen
21:18
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从洞里走出来的那个中午
阳光照射在他
苍白的皮肤上
并且刺痛了他的眼睛
那曾经明亮的眼睛开始呈现出浑浊的暗黄色
他的手搭在额头上
眺望远方
那里有一棵树，几块石头
还有河流，和他背后的山峰
和十三年前相比
那棵树似乎更绿了一些
或者其实根本没有
那只是他在初见光亮时产生的幻觉
另一歌幻觉是关于形状
山的形状，树的形状
远处城市的形状
在一颗沙粒种孕育出的宇宙的形状
还有他自己的影子的形状
在中午太阳的直射下
他的影子几乎被他自己掩盖
静止，空虚，但是并不随风摇动
他还记得十三年前的那一天
他把帽子挂在树枝上
向它鞠躬表示感谢
他向每一个脚印道谢
向每一口空气道谢
他甚至向他曾经产生过的最邪恶的念头道谢
“如果没有你们，”
他对这些念头说，
“如果没有你们，我怎么还会是我。”
他也向那几块石头道谢，
感谢它们在这个时刻陪伴着他，
还有河流，和他背后的山峰
他说谢谢，他说
谢谢。
然后向前，头也没回，
一直到现在。
“该是出去的时候了，”
那天早上有个声音在他的头脑里说，
“该是出去的时候了，
世界还会是那个世界，
不管你在这里住了多久，”
那个声音说，
“不管多久，你看到的也只是千山万水。”
“无论多久，”
他在心里对自己说。
“无论多久，
山还是山的故事，
水仍是水的故事。
而我听到的。
仍然会是人类的故事。”
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3. |
Shell
16:30
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我觉得应该从你的眼睛说去
我觉得那应该是某种灰暗的颜色
那里面应该有你的世界
也许也应该有我的世界
我不会想念那个瞬间
在得克萨斯干燥的沙漠里
开拓者们缩紧的皮肤
蜥蜴转动的眼珠
响尾蛇摇动尾巴的声音
墙上的白灰
正在一点一点的脱落
加油站的工人弹起班卓琴
他们躲在阴暗的角落
唱着资本将要毁灭世界的歌曲
他们谁都不等
他们唯一能做的是祈祷
那里面应该有你的世界
也许也应该有我的世界
那里面应该有你的世界
也许也应该有我的世界
而时间就这样过去了几千年
海水在这期间涨起了一些
又落下一些
似乎什么也没有带走
也似乎
带走了一切
那里面应该有你的世界
也许也应该有我的世界
那里面应该有你的世界
也许也应该有我的世界
这是最后一次
我在你的眼睛里看见你
这也是最后一次
我在你离开时
听见你的叹息
但是这不是最后的情节
歌曲还在继续
并且总是伴随这祈祷的声音
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4. |
Trotsky
17:52
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你跳上火车
坐了一千多公里
只为在墓地的边上坐上一小会儿
听听风，也听听树叶的
颤动，也顺便
听听鸟叫的声音
这一千多公里并不浪费
你跳上火车时还带这一个新的
背包，以及一本旧的传记
从现在开始
颜色将会越来越绿
道路将会变得崎岖
季节将会变得潮湿
从现在开始
躲开西伯利亚的寒流
颜色将会越来越绿
道路将会变得崎岖
季节将会越来越潮湿
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about
Music for an Exhibition is a live document best written about as a static image. P.K.14, the foundational inspiration for an entire genealogical branch of Chinese art rockers, were invited by artist Sun Qiuchen to perform at UCCA, Beijing's most renowned contemporary art institution. Though P.K.14 had played every kind of space China had to offer over their 15+ years as a band, this was nevertheless a frontier for them, a new challenge.
Shrouded behind a floor-to-ceiling white cloth trypophilically overcrowded with bone-dry cicada carapaces — Sun Qiuchen's off-putting installation — P.K.14 played an improvised live set for the first time in their career. Eschewing their deep discography, P.K.14 assembled a loose collective with the explicit goal of making a live album, enlisting Alpine Decline to contribute modular synth space-scapes and Beijing experimental music scene stalwart Zhu Wenbo to alternately wail single-note drones on clarinet, sax, and circuit-bent noise toys.
One take, live, no overdubs, Music for an Exhibition is a free fall, a slow dive into the dark hearts of Beijing's most progressive rock experimentalists. It's ambiguously divided into four sections, loosely based on the Chinese idiom "金蝉脱壳". Literally: the cicada sheds its shell. Imagistically: the real thing is gone, but the husk remains.
Music for an Exhibition is a metonymic escape plan, an over-saturation of sound relieving the anxieties inherent in contemporary life, sheathed as it is in the empty shells of brand identity and the gauzy, religious shroud of finance. "It's about our world," says P.K.14 vocalist Yang Haisong.
The exhibition is gone, those thousands of carapaces reverted to the dust from which they came. But the music remains.
金 Kim
禅 Zen
壳牌 Shell
托洛茨基 Trotsky
Shrouded behind a floor-to-ceiling white cloth trypophilically overcrowded with bone-dry cicada carapaces — Sun Qiuchen's off-putting installation — P.K.14 played an improvised live set for the first time in their career. Eschewing their deep discography, P.K.14 assembled a loose collective with the explicit goal of making a live album, enlisting Alpine Decline to contribute modular synth space-scapes and Beijing experimental music scene stalwart Zhu Wenbo to alternately wail single-note drones on clarinet, sax, and circuit-bent noise toys.
One take, live, no overdubs, Music for an Exhibition is a free fall, a slow dive into the dark hearts of Beijing's most progressive rock experimentalists. It's ambiguously divided into four sections, loosely based on the Chinese idiom "金蝉脱壳". Literally: the cicada sheds its shell. Imagistically: the real thing is gone, but the husk remains.
Music for an Exhibition is a metonymic escape plan, an over-saturation of sound relieving the anxieties inherent in contemporary life, sheathed as it is in the empty shells of brand identity and the gauzy, religious shroud of finance. "It's about our world," says P.K.14 vocalist Yang Haisong.
The exhibition is gone, those thousands of carapaces reverted to the dust from which they came. But the music remains.
金 Kim
禅 Zen
壳牌 Shell
托洛茨基 Trotsky
credits
released October 21, 2015
sound engineer: Deng Chenglong
recorded by Liu Yike & Deng Yun.
mixed by P.K.14 at Psychic Kong Beijing
produced by P.K.14
cover artwork by Sun Qiuchen
sleeve layout by NOHOHONO
sound engineer: Deng Chenglong
recorded by Liu Yike & Deng Yun.
mixed by P.K.14 at Psychic Kong Beijing
produced by P.K.14
cover artwork by Sun Qiuchen
sleeve layout by NOHOHONO
license
all rights reserved
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