underworld新专辑为何悲剧

毋庸置疑，underworld新专辑是本年度音乐圈的悲剧性事件，其悲剧程度恶劣程度，堪比邵小毛（当underworld遭遇邵小毛？）。本月《future music》为我们揭开了悲剧之谜。

在河南山中，我依然惦念着underworld，我都怀疑自己贱无可贱。在河南的阳光和树影的陪伴下，当我翻完这篇underworld专访后，五味杂陈。摘录专访里的一些话：

1.on this album, it’s more about celebration（今年是underworld成立30周年）….. trying to capture that feel of the live shows.making people dance and putting a smile on their face.（这最后一句话都ccav啊）

2.in the studio,I can get a bit…lost in the music. to most people,that probably sounds like a very romantic idea. spending three days sorting out a drum sound. spending a week adding a bit of atmosphere to the chorus. but after a whiles, you begin to lose your sense of perspective. others might call it obsession,but I call it idiocy. bloody-minded idiocy. it got to a poing where I just couldn’t let go of a track. I couldn’t actually bring myself to say,”this is ……finished”. see ,even now,I find it difficult. （三十年老鸟对制作音乐的厌倦）

3.I couldn’t listen to any of our stuff,because I was so critical of it all, I had no idea what we sound like and I had no idea if we were any good. at last I’m learing to let go（偶终于解脱了！）. we’ve got quite a few collaboration on this album，that meant I had to,literally, take a step back from the mixing desk. and guess what……my world didn’t fall apart！（偶发现捣糨糊也没关系嘛！)

4.到采访中段，记者很不知趣的问rick smith：is karl there for the whole recording process？rick长年来活在studio里的压抑和厌倦再次爆发：

no! I wouldn’t wish that on anyone. who the hell wants to sit there for two days because I have a vague idea that there might be something wrong with the drums？I seem to be heavily geared towards being able to sit there for 18 hours a da,messing around with intangibles……..

5.rick smith提及当年darren emerson离队后，自己的不堪重负：

I loathed to call myself a producer…….I just concentrate on sound. I suppose I think of myself as an engineer. but afte dubnobass…….I realised I need to teach myself how to do all this stuff. I had no choice really. I had no money to pay for someone els to produce the music I was interested in music. I guess that’ when the problem started. the obsession.the idiocy.never knowing if a track was finished. never knowing if it was any good.

专访中较有意思的段落是rick smith闲聊起dx7，bell-peal，systems music。dx7真乃舞曲音乐人的大爱合成器，没记错的话，brian eno也是dx 7的huge fan。

全篇的絮叨总结下来一句话：咱再也不想当studio里的宅男，咱要学会放手，放轻松，let it go！特别是读到“never knowing if a track was finished. never knowing if it was any good.”这两句时，偶对underworld新专辑的不解，愤怒，嘲讽。。。。所有负面情绪立马化为水蒸气，心中默念一句：在这个无能为力的大时代（音乐大时代）。

想起唐诺的一段话，确切的字句记不得了，只记得大意是日本一流料理和超一流的差距其实微乎其微，当没有人在乎这微乎其微的差距，超一流料理便没有存在的理由。

又想起蔡明亮的一段话：我在大量看老片。比如日本战后到1960年代的。我在想，这是跟整个社会的感觉有很大关系的。战后日本作为一个战败国，有一种文化的渴望，所以他们在电影这一块做得特别好。我觉得日本基本上是东方最强的电影国，成濑、小津、小林正树，差异性那么大。最妙的是，他们都在片场的体制中，有很强的工业在支撑。所以我就在想，那群观众到底是谁，他们真的很了不起。

不妨说一句得罪人的话，中国电影大片再不靠谱，给中国电影大片的评分绝对靠谱。而音乐圈已经衰败到音乐很不靠谱，给不靠谱音乐的评分也不靠谱。或者说，音乐早已不需用【质量】去考量。

如果underworld二人问：2010年了，我们为什么还要做好音乐？

谁能回答这极其弱智却极其无奈终极无解的问题？