爱,不到

发行时间:2020-11-23
发行公司:StreetVoice/子皿有限公司
简介:  爱情若是权力的寓言,   时间究竟是枷锁还是逃逸的路线?   任何时代讨论爱情,都不早不晚。而用爱情的任何姿态演示权力的关系,都不多不少。爱情是权力的场域,性别的、阶级的、种族的、年龄的……并非因为爱绝对是一种控制,或是独佔,而是,当我们竟然相信,爱是宇宙的和谐,是一切的解答,那么,爱的神圣性註定其便是力量的战场。   我们在慾望的争夺中前进、后退,具现了一切矛盾:满足与失落、剥削与奉献、拥有与失去,误以为平衡可以永恆,殊不知一生都要战战兢兢去维繫。   而权力能施于人的最阴冷的暴力,就是时间。   你会知道,那就是等待。世界上最难熬的等待,就是爱情。无法满足的慾望,未能得到的回应,始终不能履行的承诺,把时间切成不连续的碎片,你在等待里自问自答,望着个空白的碎片里寻找对方的身影,却只能照见自己的焦灼与空虚。   急促却悠长,缓慢却短暂,日復一日,明日很快变成昨日,你要的此时此刻,永远不会到来。在等待爱情的回望时,你透过他人眼中成为他者,而渴望却不可得,亦让你成为自己的他者。   这就是拖磨,或是说,权力施予的,时间的重量。   我们这样脆弱的身躯与柔软的心,无法承受那么坚硬的直视,巴奈遂以眼泪缀饰的词、嘆息串成的调来铺叙,并以赤裸直揭人际关系里慾望与控制往復探索的探戈曲调牵引,再以电子音效的刮搔作为应答,来展演爱情即是权力,而在让渡权力里的人,情感的踌躇、心灵的自我怀疑。   经过20年时光的歷练,2000年发行《泥娃娃》的巴奈,曾经她用沉重的声音直接叩问时代加诸于她的谎言与自身的命运,而这张她收录过去鲜少演出的全创作作品《爱,不到》专辑,却是把自己青春私密的爱情心事全然交付给由金曲、金音奖音乐人萧贺硕、李承宗(Circo Ensemble)、郑各均(音速死马、三牲献艺)组成的制作团队,透过音乐的对话交互辩证。以探戈作为类型的诠释,用班多纽手风琴去述说她人生的飘盪,巴奈生命里爱的进退或许是她现实境况的比喻,也可能仅仅是强悍背后的软弱,女人的小小心事。但述说便是一种行动,敢于让自己被诠释,则是另一种自由与反抗。   《爱,不到》,或许是得不到,亦或是在路上,仍是一句悬问,也是一份坚持。坚持看清自己的所有伤痕,问世间情为何物,先问自己真心是否坦荡如初。   One of Taiwan's best-known and most beloved indigenous singers,Panai spoke to a generation of disaffected youth in the early 2000s with her debut album Ni-Wa-Wa,which was hailed widely for its beautifully melancholy and frank appraisal of her generation's life and times.   Now,twenty years later,Panai has released Love,and yet...--an unusual but timely work,given her path from emerging folk star to outspoken activist for indigenous rights.   With this album,Panai narrates our struggles with love,power,and time.She dug into her past catalog of songs written several decades ago(near the time of Ni-Wa-Wa),unearthing some rarely-heard,rarely-performed compositions.   The songs are raw,deeply personal stories about the joys and heartaches of a past youth--but the album is decidedly not a nostalgic revisitation.Panai approached these once-lost songs from a fresh angle,with the help of a trio of award-winning Taiwanese musicians.Songwriter and producer Shuo Hsiao oversaw the project in collaboration with co-producers Lee Chung-tsung(Circo Ensemble),and Chang Ko-chun(Sonic Deadhorse).   The album's sound mixes the traditional and modern.Lee and Chang spearheaded the song arrangements,with Lee leading and directing a tango ensemble,and Chang providing electronic music instrumentation.Together they set the perfect stage for Panai to explore the ebb and flow of power,desire,and control in romantic relationships.   Fans might be taken aback by Panai singing about such topics today,given that her energies in recent years have been invested in an ongoing campaign for land rights for indigenous people in Taiwan.   But this very act of sharing such personal stories should be seen as an act of freedom and resistance in itself.Panai has naturally drawn from her recent experiences with a sit-in movement that has continued for three years and counting,infusing these recordings with a fresh perspective and wisdom on love,power,and time.   Love,and yet...is full of Panai's signature tenacity,and it is a display of a different kind of courage.It's a courage to look back at one's past scars;it's a courage to continue on a quest for love,no matter the rewards or consequences.One might take the stage to sing stories of heartbreak and trouble--or one might take the stage to fight unjustified power.Either way,with these new recordings,Panai reminds us of what to always do first:ask whether our own hearts are truly open.   ABOUT PANAI   One of the most distinctive voices in Taiwanese folk music,Panai Kusui came to prominence in the early 2000s with her debut album Ni-Wa-Wa,which appealed not only to fans who shared her indigenous roots,but Chinese-speaking audiences across the island.Of Puyuma and Amis descent,Panai sings both in the languages of her ancestry and Mandarin Chinese,commenting on the struggles of indigenous youth and issues impacting Taiwanese society as a whole.Not only is Panai beloved for her penetrating and passionate music,she is widely admired and respected for her tireless efforts as a social activist.In 2017,she embarked on a high-profile campaign calling on the current government to return Taiwanese ancestral lands to its indigenous people,and to grant meaningful political autonomy to their communities.Panai's sit-in protest near Taiwan's presidential office continues to this day,and continues to attract visits from everyone from top government officials trying to argue their side to friends and passersby showing their support for the movement.But even while on the front line,Panai's musical knowledge and talents continued to be highly sought after.Once,during a tour stop in Taiwan,the British soul singer Joss Stone visited Panai at the protest site to learn a traditional indigenous song.Panai's latest album Love,and yet…(2020),a collection of rarely-performed ballads written at the start of her career,is delivered with the fire of a seasoned activist,and the wisdom of a well-traveled troubadour.
  爱情若是权力的寓言,   时间究竟是枷锁还是逃逸的路线?   任何时代讨论爱情,都不早不晚。而用爱情的任何姿态演示权力的关系,都不多不少。爱情是权力的场域,性别的、阶级的、种族的、年龄的……并非因为爱绝对是一种控制,或是独佔,而是,当我们竟然相信,爱是宇宙的和谐,是一切的解答,那么,爱的神圣性註定其便是力量的战场。   我们在慾望的争夺中前进、后退,具现了一切矛盾:满足与失落、剥削与奉献、拥有与失去,误以为平衡可以永恆,殊不知一生都要战战兢兢去维繫。   而权力能施于人的最阴冷的暴力,就是时间。   你会知道,那就是等待。世界上最难熬的等待,就是爱情。无法满足的慾望,未能得到的回应,始终不能履行的承诺,把时间切成不连续的碎片,你在等待里自问自答,望着个空白的碎片里寻找对方的身影,却只能照见自己的焦灼与空虚。   急促却悠长,缓慢却短暂,日復一日,明日很快变成昨日,你要的此时此刻,永远不会到来。在等待爱情的回望时,你透过他人眼中成为他者,而渴望却不可得,亦让你成为自己的他者。   这就是拖磨,或是说,权力施予的,时间的重量。   我们这样脆弱的身躯与柔软的心,无法承受那么坚硬的直视,巴奈遂以眼泪缀饰的词、嘆息串成的调来铺叙,并以赤裸直揭人际关系里慾望与控制往復探索的探戈曲调牵引,再以电子音效的刮搔作为应答,来展演爱情即是权力,而在让渡权力里的人,情感的踌躇、心灵的自我怀疑。   经过20年时光的歷练,2000年发行《泥娃娃》的巴奈,曾经她用沉重的声音直接叩问时代加诸于她的谎言与自身的命运,而这张她收录过去鲜少演出的全创作作品《爱,不到》专辑,却是把自己青春私密的爱情心事全然交付给由金曲、金音奖音乐人萧贺硕、李承宗(Circo Ensemble)、郑各均(音速死马、三牲献艺)组成的制作团队,透过音乐的对话交互辩证。以探戈作为类型的诠释,用班多纽手风琴去述说她人生的飘盪,巴奈生命里爱的进退或许是她现实境况的比喻,也可能仅仅是强悍背后的软弱,女人的小小心事。但述说便是一种行动,敢于让自己被诠释,则是另一种自由与反抗。   《爱,不到》,或许是得不到,亦或是在路上,仍是一句悬问,也是一份坚持。坚持看清自己的所有伤痕,问世间情为何物,先问自己真心是否坦荡如初。   One of Taiwan's best-known and most beloved indigenous singers,Panai spoke to a generation of disaffected youth in the early 2000s with her debut album Ni-Wa-Wa,which was hailed widely for its beautifully melancholy and frank appraisal of her generation's life and times.   Now,twenty years later,Panai has released Love,and yet...--an unusual but timely work,given her path from emerging folk star to outspoken activist for indigenous rights.   With this album,Panai narrates our struggles with love,power,and time.She dug into her past catalog of songs written several decades ago(near the time of Ni-Wa-Wa),unearthing some rarely-heard,rarely-performed compositions.   The songs are raw,deeply personal stories about the joys and heartaches of a past youth--but the album is decidedly not a nostalgic revisitation.Panai approached these once-lost songs from a fresh angle,with the help of a trio of award-winning Taiwanese musicians.Songwriter and producer Shuo Hsiao oversaw the project in collaboration with co-producers Lee Chung-tsung(Circo Ensemble),and Chang Ko-chun(Sonic Deadhorse).   The album's sound mixes the traditional and modern.Lee and Chang spearheaded the song arrangements,with Lee leading and directing a tango ensemble,and Chang providing electronic music instrumentation.Together they set the perfect stage for Panai to explore the ebb and flow of power,desire,and control in romantic relationships.   Fans might be taken aback by Panai singing about such topics today,given that her energies in recent years have been invested in an ongoing campaign for land rights for indigenous people in Taiwan.   But this very act of sharing such personal stories should be seen as an act of freedom and resistance in itself.Panai has naturally drawn from her recent experiences with a sit-in movement that has continued for three years and counting,infusing these recordings with a fresh perspective and wisdom on love,power,and time.   Love,and yet...is full of Panai's signature tenacity,and it is a display of a different kind of courage.It's a courage to look back at one's past scars;it's a courage to continue on a quest for love,no matter the rewards or consequences.One might take the stage to sing stories of heartbreak and trouble--or one might take the stage to fight unjustified power.Either way,with these new recordings,Panai reminds us of what to always do first:ask whether our own hearts are truly open.   ABOUT PANAI   One of the most distinctive voices in Taiwanese folk music,Panai Kusui came to prominence in the early 2000s with her debut album Ni-Wa-Wa,which appealed not only to fans who shared her indigenous roots,but Chinese-speaking audiences across the island.Of Puyuma and Amis descent,Panai sings both in the languages of her ancestry and Mandarin Chinese,commenting on the struggles of indigenous youth and issues impacting Taiwanese society as a whole.Not only is Panai beloved for her penetrating and passionate music,she is widely admired and respected for her tireless efforts as a social activist.In 2017,she embarked on a high-profile campaign calling on the current government to return Taiwanese ancestral lands to its indigenous people,and to grant meaningful political autonomy to their communities.Panai's sit-in protest near Taiwan's presidential office continues to this day,and continues to attract visits from everyone from top government officials trying to argue their side to friends and passersby showing their support for the movement.But even while on the front line,Panai's musical knowledge and talents continued to be highly sought after.Once,during a tour stop in Taiwan,the British soul singer Joss Stone visited Panai at the protest site to learn a traditional indigenous song.Panai's latest album Love,and yet…(2020),a collection of rarely-performed ballads written at the start of her career,is delivered with the fire of a seasoned activist,and the wisdom of a well-traveled troubadour.
 
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